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.. BY .. 

Judge Horton, 

> J ^ . '> , ' » , 



Press of Winn & Hammond 


Copyright, 1904 
By William E. Horton. 

. All rights reservecL 

^?^\¥t^t^M Fi^'tf^K^X^ 

Half-tone cuts by 
Van Leyen & Hensler 

To My Friend, 

Elihu B. Washburne, 


In placing this book before the pubUc, the 
aim has been to introduce subjects calculated to 
impart a greater interest to its pages than if 
the contents were confined to dry statistics and 
details of the doings of those connected with 
the stage. 

The book, as its name implies, is a series of 
chapters of "Driftwood of the Stage," not 
confining itself to any one branch of the pro- 
fession, but giving place to the circus, min- 
strelsy, music and the vaudevilles. The greatest 
care has been taken to verify all the facts 
(many of them here presented for the first 
time) in order that it may find favor with the 
dramatic collector as well as with those who 
are glad to be known as old playgoers. 

Much herein contained rests upon an intimate 
personal knowledge of the subject, gained 
through many years of private friendship and 
business association with the profession in 
general . 



6 Preface, 

In these reminiscences the endeavor has been 
to be correct, and if there is a difference from 
others on some points it is because romance has 
been sacrificed to historical accuracy. Very 
often the wreath of laurel has been placed on 
the brows of triumphant leaders and often it 
has occurred that they have attracted to them- 
selves the credit and glory which justly be- 
longed to others. In mentioning the more 
prominent people in theatrical life, those who 
occupied more humble positions have not been 



The Struggle for Fame ii 

"The Little Church Around the Corner" 23 

A Glance at Vaudeville 34 

The Origin of the Elks 46 

Importance of Detail 58 

Farewells in "Richelieu" 69 

Sawdust and Spangles 80 

Superstition and Slang 92 

Graves of the Players 103 

Historic Playhouses 116 

Notable Testimonials 129 

Church and Stage 142 

Songs of Other Days 154 

At Rest 166 

The Melancholy Dane 178 

James Fisk, Jr., in Theatricals 191 

The One-Night Stand 202 

The Cruel Hiss 214 


Story of John Wilkes Booth 226 

The Last Appearance 236 

Old-Time Minstrels 248 

A Bit of History 260 

The "Shakedown" 271 

At Home and Abroad 283 

Patriotism of Stage Folks 296 

The Actor and the Actors' Fund 308 

Burning of the Brooklyn Theater 320 

In Fond Memory 333 

In Positions of Honor and Trust 346 

Incident and Story 358 


Facing Page 

Louis James i8 

Mrs. Fiske 38 

Edward H. Sothern 56 

Julia Marlowe 74 

James K. Hackett 92 

Maude Adams no 

Charles Richman 128 

Viola Allen 146 

Henry B. Harris 166 

Charles J. Ross— Mabel Fenton 184 

Alice Fischer 202 

George W. Wilson 220 

Isabel Irving 238 

Robert Edeson 256 

Ethel Barrymore 274 

Ezra Kendall 292 

Chrystal Heme 310 

George M. Cohan 328 

Florence Reed 356 


Actors advance various reasons as to the im- 
pulses which led to their adopting the stage as a 
career. Some lay the responsibility at the door 
of our old friend Divine Spark. Others, mostly 
of the feminine gender, own in rare moments 
of confidence to the soft impeachment of vanity. 
Ambition to win the plaudits of the public, to 
lead the life erroneously conceived to be spent in 
the lap of luxury, to satisfy the cravings of 
artistic temperament, to verify the prophecies of 
the amateur stage, to fulfill the promptings of 
heredity, and in many instances to earn a liveli- 
hood in a congenial occupation. 

To some there would seem to be no life harder 
than that of the struggling actor or actress who 
wanders through the country clinging to a career 

12 Driftwood of the Stage. 

fraught with so many trials, discomforts, and 
disappointments. Yet there are thousands of 
men and women doing it. It is ambition, hope ! 
It is to win a prize that falls to but a score in a 
century, perhaps, and yet everybody expects to 
;be.of th^. scori?. Did not quite all of the illus- 
tripij^ histrion3 begin as humble and skirmish 
^alofig the same lines? Edwin Forrest, Stuart 
JR-obson, Frank Mayo, Sol Smith Russell, James 
A. Heme, and the others of the few famous 
ones, endured the struggle and reaped the re- 
w^ard. Why, then, should not all of them believe 
in their hopes, and refuse to be dissuaded from 
their purpose? 

Is there any prize open to the ordinary person 
starting out without money or prestige as glit- 
tering as that achieved by some of these player 
folks? When they first went out in search of 
the fame they afterward attained, did any but 
themselves believe in their securing it? Doubt- 
less many times each was told he could not act, 
and many times eagerly scanned the papers in 
hopes of an encouraging word, but found he was 
ignored or mercilessly criticised. But if by 
chance he did find a favorable mention hope 
rose, and a waning faith was fortified. 

The rush for place and fame in the theater has 

Driftwood of the Stage. 1 3 

become a madness. In a vast majority of cases 
the beginning is practically the end of a stage 
career. The top is a very circumscribed place, 
and only the favored few can gain or keep a 
footing there. The rest must experience misery 
and heartbreak in a greater degree than in any 
other occupation. The reasons for this are 
many, but it is not important to name them. 
The fact is enough. 

Prominence in the theatrical world can only 
be attained by strict attention to business and 
hard work. No matter how humble the start, 
true merit is sure to be recognized. 

What better proof is needed than the fact that 
James O'Neill first appeared on the stage at the 
National Theater, Cincinnati, where he sup- 
ported Edwin Forrest by carrying a spear, and 
the first lines he spoke was in the modest ca- 
pacity of a wedding guest? It is not so many 
years ago that David Warfield was an usher 
in a San Francisco theater. By some means 
he found the stage door and began a career, 
which by close attention to business, at times 
mingling with the class of people he was to por- 
tray on the stage, studying their habits, char- 
acter and dress, as well perfecting himself in 
their dialects, placed him among the country's 

14 Driftwood of the Stage. 

famous character actors. Charles Dickson is 
another example of what is necessary to make 
a successful actor. Beginning as a clacquer at 
Niblo's Garden, New York, in the days when 
such spectacles as "The Black Crook," "The 
White Fawn," and others of that class held the 
boards, and the house supported a corps of 
clacquers who were distributed among the audi- 
ence to start the applause at the proper time, he 
too found his way back of the curtain, and 
passed through all the grades from supernumer- 
ary to star. 

Robert Edeson is the son of George R. Ede- 
son, an actor long held in enviable regard by 
the public, but with his knowledge gained by 
experience of the difficulties attendant on an 
actor's life he hoped to dissuade his son from 
entering so hazardous a field of endeavor. As 
a youth, Mr. Edeson heeded the parental coun- 
sel to the extent of confining his talents to the 
box office. 

It was in 1887, while employed in the ca- 
pacity of treasurer at the Park Theater, Brook- 
lyn, that he unexpectedly found himself trans- 
ferred to the stage. Colonel Sinn, the lessee 
of the theater, was introducing a new play called 
"Fascination," in which Cora Tanner was the 

Driftwood of the Stage. 1 5 

star. During the rehearsals on the Friday pre- 
vious to the production, Colonel Sinn received 
word that one of the minor players of the com- 
pany had been taken ill. Mr. Edeson offered his 
services, was relieved from his office duties, and 
played the part on the following Monday night. 

Everyone in this country who tries to keep 
within speaking distance of the stage and the- 
atrical biography knows something of Ezra 
Kendall. Indeed, a great many fine and com- 
mendatory things could be said of this unique 
and sterling comedian. A brief story of his 
stage career shows an humble beginning, much 
hard work, many trials and disappointments, 
and finally success. 

His stage experience dates back to school ex- 
hibitions in the town hall, when his recitation 
of "How Cyrus Laid the Cable," won him some 
local newspaper advice to become an actor or 
a lawyer. He knew that a lawyer had to be 
both, and as he did not have confidence enough 
to undertake too much, he chose the stage. After 
first learning a trade, he ventured out profes- 
sionally, and with the assistance of his trade 
managed to get home. This occurred several 
times in his first season. Mr. Kendall has 
been property man, actor, author, star, and 

1 6 Driftwood of the Stage. 

has fought every step of the way to the place 
he now holds. 

Theodore Thomas played the violin at the 
Broadway Theater, New York, for nine dol- 
lars a week, and Maurice Levi was the pianist 
in a vaudeville house at Baltimore, at a salary 
that was even smaller. These gentlemen were 
not afraid of hard work, and who have been 
more successful than they? 

Others also began at the bottom of the lad- 
der. Louis James began his theatrical career in 
January, 1864, in the Macauley stock company 
at Louisville, Ky., as a peasant in ''Rachael, 
the Reaper." The first part of importance 
he was intrusted with was that of Matthew 
Leigh, in "Rosedale." Nat C. Goodwin made 
his first appearance on the stage at the How- 
ard Athenaeum, Boston, in the spring of 1874, 
in a play called "Law in New York," in the 
part of a newsboy, and giving his imitations 
of famous actors. William H. Crane made his 
professional debut at Mechanics' Hall, Utica, 
N. Y., July 13, 1865, as the Notary in an Eng- 
lish version of Donnizetti's "Daughter of the 
Regiment." He was then known as "Master 
William, the great basso profundo." 

John Drew made his first appearance on the 

Driftwood of the Stage. 17 

stage at the Arch Street Theater, Philadelphia, 
then under his mother's management, on March 
27,, 1873, as Plumper in the farce ''Cool as a 
Cucumber." His second part was Hornblower 
in ''The Laughing Hyena." The debut of Ed- 
ward H. Sothern took place at Abbey's Park 
Theater, New York, in September, 1879, as 
the cabman in "Sam," one of his father's plays. 
All he had to do was to appear, carry his hand 
to his head and say : "Half a crown, your 
honor. I think you won't object!" 

What might properly be called the profes- 
sional debut of William Gillette took place at 
the Globe Theater, Boston, September 13, 1875, 
when he appeared as Guzman in "Faint Heart 
Never Won Fair Lady." Previous to this he 
had given public readings, and met with much 
success in his imitations. James K. Hackett 
made his debut at the Park Theater, Phila- 
cielphia, March 28, 1892, as a member of A. M. 
Palmer's stock company. His first part was 
Francois in "The Broken Seal." 

The first part acted by Otis Skinner was that 
of Old Plantation, an aged negro, in a rural 
play called "Woodleigh," at Wood's Museum, 
Philadelphia, October 30, 1877, and the first 
part entrusted to Robert Mantell was that of 

1 8 Driftzvood of the Stage. 

the Sergeant in "Arrah-na-Pogue," at Rock- 
dale, England, in 1874. 

The distinguished place that Mrs. Fiske has 
achieved among contemporary players empha- 
sizes as notably as it emphasizes anything, the 
intrinsic value of hard w^ork, careful training 
and wide experience in the dramatic profession. 
Mrs. Fiske was born at New Orleans, her fa- 
ther being Thomas W. Davey, a well known 
manager in the south and west, but from the 
first she was known as Minnie Maddern, after 
her mother, who was Lizzie Maddern, an actress 
and musician of much ability. Her first ap- 
pearance in a play occurred when she was three 
years old. She played the Duke of York in 
"Richard III." Before attaining her four- 
teenth year she had acted many of the leading 
juvenile parts, and occasionally old women's 
parts, so remarkable was her adaptability. At 
the age of sixteen she became a star. The play 
in which she made her stellar debut was called 
"F'ogg's Ferry," and was presented at the Park 
Theater, New York, May 20, 1882. 

Julia Marlowe began her stage experience at 
the age of twelve as a member of the chorus 
of Colonel Miles' Juvenile Pinafore Company. 
At that time she was known as Fanny Erough. 

IyOuis Jambs. 


« C t I., 

Driftwood of the Stage. 19 

She did not remain long in the chorus, soon 
being permitted to take the parts of Hebe and 
Little Buttercup. At the age of sixteen Miss 
Marlowe played her first vShakespearean char- 
acter, that of Balthazar, in "Romeo and Juliet." 
Her debut as a star took place at New London, 
Conn., April 25, 1887. The play selected was 
"Ingomar," in which she acted Parthenia. It 
was at this time she was first called Julia Mar- 

Blanche Walsh made her first public appear- 
ance at a benefit performance at the Windsor 
Theater, New York, in June, 1887. Miss 
Walsh played Desdemona on that occasion. Her 
first professional engagement was in a small 
part in the melodrama, "Siberia." Maxine El- 
liott began her serious dramatic work when 
she became a member of E. S. Willard's com- 
pany in 1890, during the English actor's first 
tour of this country. The first part that was 
given her was Felecia Umfraville in "The Mid- 
dleman," and she also played Virginia Fleet- 
wood in "John Needham's Double." The next 
season she remained with Mr. Willard and was 
given the part of Beatrice Selwyn in "A Fool's 
Paradise," and later that of Lady Gilding in 
"The Professor's Love Story." 

Driftwood of the Stage. 

Ada Rehan made her first appearance on the 
stage at Newark, N. J., in 1873. She acted the 
part of Clara in Oliver Doud Byron's play 
*' Across the Continent." Her first professional 
engagement was at the Arch Street Theater, 
Philadelphia, then under the management of 
Mrs. John Drew. Miss Rehan became a mem- 
ber of this company in 1873, and remained with 
i^ for three seasons. May Irwin made her first 
appearance on the stage at a variety theater in 
Buffalo in December, 1875. At that time she 
and her sister Flora were known as the Irwin 
Sisters. They were little girls in short dresses, 
and the first song they sang was ** Sweet Gene- 
vieve." Their salary was thirty dollars a week. 
Later they did their first sketch, which was 
called ''On Board the Mary Jane." Lizzie 
Evans made her first bow to the public as a pro- 
fessional actress at the Standard Theater, New 
York, August 25, 1882. Her first part was 
that of Clip in Barney Macauley's ''A Messen- 
ger from Jarvis Section." 

Mrs. Leslie Carter began her stage career on 
November 10, 1890, when she made her debut 
at New York in ''The Ugly Duckling." In 
October, 1895, she made an astonishing suc- 
cess as Marvland Calvert in "The Heart of 

Driftwood of the Stage. 21 

Maryland," and when *'Zaza" was produced at 
Washington, D. C, December 26, 1898, the 
dramatic critics of the capital described the 
play as a masterpiece, and declared her to be one 
of the best actresses of the English stage. Kath- 
ryn Kidder made her debut in 1885 as Wanda 
in the play "Nordeck," which Frank Mayo had 
dramatized from a German novel by Mrs. 
Werner called "Vineta." Miss Kidder stayed 
in Mr. Mayo's company about a year, and then 
acted in "Held by the Enemy" during its run 
at the Madison Square Theater, New York. Ida 
Conquest made her first appearance as a pro- 
fessional actress with Alexander Salvini in 1892, 
at a special matinee performance at the Tremont 
Temple, Boston, of ''Rohan, the Silent," in 
which she played Isobel. Her first stage ap- 
pearance, however, began when she was only 
eight years old as Little Buttercup in the Bos- 
ton Museum juvenile production of 'Tinafore," 
in which she appeared over three hundred times. 
Maude Adams made her first appearance on 
any stage at the age of nine months, at Salt 
Lake City, when she was carried on the stage 
in a play called *'The Lost Child." Her first 
part was that of Little Schneider in "Our Fritz," 
with J. K. Emmet. Isabel Irving's first en- 

22 Driftwood of the Stage. 

gagement was with Rosina Vokes, and her de- 
but was made at the Standard Theater, New 
York, in February, 1887, as Ermyntrude John- 
son in Pinero's farce *'The School Mistress." 
Later she was given the part of Gwendolin Haw- 
kins in the same play. In the fall of 1888, Miss 
Irving joined Augustin Daly's Company, with 
which she was connected for six years. From 
vaudeville entertainer to leading lady for Henry 
Irving is a far cry, which possibly only those in 
professional life are able to comprehend; yet 
Cissy Loftus accomplished it with seeming ease. 

Driftwood ol the Stage. 23 


On Twenty-ninth Street, near Fifth Avenue, 
New York, stands the vine-clad Church of the 
Transfiguration, which is perhaps better known 
as ''The Little Church Around the Corner." By 
some this little ivy-covered place of worship is 
called the Actors' Church, as a large number 
of professionals are among its regular attend- 
ants. This edifice was erected in 1850, and the 
Rev. Dr. George H. Houghton, who founded 
the parish, was its rector from the beginning 
until his death. 

The first Transfiguration service was held in 
a small room, kindly donated for the purpose, 
and a bible, a prayer book, a surplice, a pine 
wood lecturn, a few school benches, and a par- 
lor organ comprised all the possessions. When 
the present site was fixed upon, and a portion 
less than one-fourth of the present edifice was 
erected, the view was unbroken to Madison 
Square below and to Murray Hill above. Lit- 
tle by little the church has grown, by pushing 

24 Driftzvood of the Stage. 

out first in one direction and then in another 
as exigencies required or resources permitted, 
and so it grew into its present rambling but 
picturesque and satisfactory proportions, leav- 
ing a fair, open court of beautifully wooded 
grounds opening on the street, with its flagged 
walks, its fountain, its shade and bird song. 

The church is much embowered, so that in 
the season of foliage it is hardly visible. Simple 
and unpretending without it is all glorious with- 
in, with its devout marble altar and correct 
liturgic accessories, at the angle where the long 
nave and its one transcept meet, its exquisite 
baptistry, its valuable and costly pictures, its 
richly-varied stained windows, and its unique 
memorial window which lights the choir and 
organ, its carved and costly pulpit and furnish- 
ings, its statuary and stations of the cross. There 
is an odor of loving sacrifice everywhere which 
makes for the visible as well as spiritual beauty 
of holiness. The church is always open from 
the rising of the sun until the going down 
thereof for public or private devotion. At all 
hours there is access to pastoral ministration for 
all sorts and conditions in life, and day and 
night this ministry of succor and consolation 
goes on. 

Driftzvood of the Stage. 25 

Out of a single obscure Providence of the 
burial of a baptized man grew a relation with 
ihe whole dramatic profession, full of confi- 
dences and generous sympathies to this day, 
which otherwise might have long slumbered 
undeveloped. It was, however, only a prac- 
tical exemplification of the rector's favorite 
motto, which he chose to Christianize from its 
pagan setting : *'Homo sum humani nihil a me 
alienum puto." (I am a man. I think nothing 
human alien to me.) 

It was on December 20, 1870, that George 
Holland, who had long been a favorite actor in 
the companies made famous by Lester Wallack, 
Augustin Daly, and others, passed from earth 
after almost half a century's professional labor 
in this country. Joseph Jefferson, who was a 
brother-in-law of the deceased, was requested by 
the family to make arrangements for the fun- 
eral, and made an application to have the burial 
service held at a church where Mr. Holland had 
been an attendant, then located on the corner 
of Fifth Avenue and Twenty-ninth street, New 

In the "Autobiography of Joseph Jefferson'* 
occurs a short account of this pathetic yet beau- 
tiful episode now famous in the story of the- 

26 Driftwood of the Stage. 

atrical life. ''Upon the announcement of the 
death of George Holland," writes Mr. Jeffer- 
son, ''I called at the house of his family and 
found them in great grief. The sister of Mr. 
Holland informed me that they desired to have 
the funeral take place from the church. * * 
I at once started in quest of the minister, taking 
one of the sons of Mr. Holland with me. * * 
Something gave me the impression that I had 
best mention that Mr. Holland was an actor. 
1 did so in a few words, and concluded by pre- 
suming that probably this fact would make 
no difference. I saw, however, by the strained 
manner of the minister that it would make, at 
least to him, a great deal of difference. After 
some hesitation he said if Mr. Holland had 
been an actor he would be compelled to decline 
holding the service in the church. While his 
refusal would have shocked under ordinary cir- 
cumstances, the fact that it was made in the 
presence of the dead man's son was more pain- 
ful than I can describe. I turned to look at the 
youth and saw that his eyes were filled with 
tears. He stood as one dazed with a blow just 

Mr. Jefferson then asked the minister whether 
he could suggest some church where the cere- 

Driftwood of the Stage. 27 

mony might be performed. *'He replied that 
there was a little church around the corner 
where I might get it done. 'Then, if that be 
so, God bless the little church around the 
corner,' said I. The minister had unwittingly 
performed an important christening; and his 
baptismal name, 'The Little Church Around the 
Corner,' clings to it to this day." 

Thither the party w^ent, and the rector. Dr. 
Houghton, readily consented to perform the 
last rites over the deceased. Since then the 
Church of the Transfiguration has been known 
as ''The Little Church Around the Corner" in 
the affections of the theatrical world, and since 
then generations of actors have been married 
in and buried from this little church that shrinks 
from the noise and glitter of the avenue. Many 
strangers come to worship at this embowered 
shrine, knowing well the generous welcome that 
awaits them. The kindly spirit which has ever 
prevailed has done much towards making what 
was once a struggling parish one of the strong- 
est in the diocese. 

Visitors arriving at the metropolis go to see 
this little church as tourists go to the Tuileries 
at Paris or St. Peter's at Rome. To the New 
Yorker a thousand associations makes it dear. 

28 Driftwood of the Stage. 

The old John Street Church, the birth-place of 
Methodism in America, Trinity Church, with 
its adjoining graveyard in which are the re- 
mains of those who fought and died for our 
independence, and historic St. Paul's, where 
Washington used to worship, are visited by 
many each year. Grace Church, which stands 
majestically where Broadway turns at Tenth 
Street, and St. Patrick's Cathedral, that grand 
marble structure with its twin spires that loom 
up on Fifth Avenue, attract a vast number who 
also wend their way to ''The Little Church 
Around the Corner." 

The marble church with the lofty steeple 
where they had no room for the actor was torn 
down long ago to make room for business 
houses, but the little church still stands and will 
continue to stand just where it is unless de- 
stroyed by fire or the elements, until it shall 
crumble away. It is founded on a rock; found- 
ed on the new commandment given to man- 
kind, "That ye love one another," and nothing 
shall prevail against it. 

As the older members of the profession pass 
away, younger ones take their place, and to them 
this house of worship will always be dear. They 
revere the names of those whose remains have 

Driftwood of the Stage. 29 

been brought from foreign countries and dis- 
tant cities that the prayers for the dead may here 
be said over all that was mortal of them, and 
without regard to sect, creed or denomination, 
stand ready to show their devotion by their 
attendance, their services, and if need be, their 

George Holland was born at Lambeth, near 
London, England, December 6, 1791, and at 
the time of his death was seventy-nine years 
old. His first appearance on any stage was at 
the Olympic Theater, London, in 1820, as Tom 
in "All at Coventry." He made his debut before 
an American audience at the Bowery Theater, 
New York, in September, 1827, assuming seven 
characters in ''The Day After the Fair," and 
played his last part at the Fifth Avenue The- 
ater, New York, Januaray 12, 1870, as Mr. 
Jenkins, in a play called "Surf." He joined Mr. 
Daly's company in 1869 and remained a mem- 
ber until his death. The last time he appeared 
on the stage was at a testimonial tendered him 
at this same theater. May 16, 1870. The play 
of "Frou Frou" was presented, but he took no 
part in the performance. Too much affected to 
respond to the kind plaudits of the audience, 
he spoke his last lines in public, impromptu and 

30 Driftwood of the Stage. 

from the heart, ''God bless you all!" At his 
death benefit performances were given for his 
family at New York, Brooklyn, Boston, Balti- 
more, San Francisco, and Vicksburg, Miss. 

George Holland, in addition to being a fav- 
orite actor, was one of the most lovable of men ; 
and not only the theatrical profession, but all 
the newspapers of the city took up what they 
considered a slight to the dead actor. The press 
of the entire country seemed interested, and 
''The Little Church Around the Corner" be- 
came universally known. On the day of the 
funeral the church was filled to its capacity and 
the adjacent streets and avenues were crowded 
with spectators. Aside from his own promi- 
nence in the profession Mr. Holland was con- 
nected with other professional families of prom- 
inence, all of whom attended the funeral, and 
every member of the profession within reach 
of New York was present. 

The following day the newspapers gave much 
space to the ceremonies. One paper gave the 
opinions of many of the city's most prominent 
people on the subject, and another gave an il- 
lustration of the little church. A little later ap- 
peared the following poem: 

Driftwood of the Stage. 31 

"Bring him not here, where our sainted feet 

Are treading the path to glory; 
Bring him not here, where our Saviour sweet 

Repeats for us his story. 
Go, take him where such things arc done 

(For he sat in the seat of the scorner), 
To where they have room, for we have none, — 

To the little church round the corner." 

So spake the Holy man of God, 

Of another man, his brother, 
Whose cold remains, ere they sought the sod, 

Had only asked that a Christian rite 
Might be read above them by one whose light 

Was, "Brethren, love one another;" 
Had only asked that a prayer be read 
Ere his flesh went down to join the dead. 
While his spirit looked with suppliant eyes. 
Searching for God through the skies. 
But' the priest frowned "No." and his brow was bare 
Of love in the sight of the mourner. 
And they looked for Christ and found kim — where? 

In that little church round the corner. 

Ah, well, God grant when, with aching feet. 

We tread lile's last few paces. 

That we may hear some accent sweet. 

And, kiss, to the end, fond faces, 
God grant that this tired flesh may rest 

(Mid many a musing mourner). 
While the sermon is preached and the rites are read 
In no church where the heart of love is dead, 
And the pastor's a pious prig at best, 
But in some small nook where God's confessed — 

Some little church round the corner. 

— A. E. Lancaster. 

Some of our best known actors have been 
buried from this church, and the funeral serv- 
ices of Mrs. Holland, who survived her hus- 

Driftzvood of the Stage. 

band more than thirty years, were also held at 
this place. In addition its dear old rector joined 
in wedlock more than one thousand stage folks. 
The esteem in which he was held by the pro- 
fession can hardly be described. He was an 
honorary life member of the Actors' Fund of 
America, and took great interest in its good 

On November ly, 1897, Dr. Houghton en- 
tered into rest. Called from the serene and quiet 
duties of the pastoral life in which his heart 
delighted, among a people who had called him 
to them for nearly fifty years, and from the 
widest circle of devoted and admiring friends, 
he was borne to the grave. By his death the 
actor lost one of his most faithful friends. 

He was succeeded by his nephew. Rev. 
George C. Houghton, and one of the first 
things the new rector said was: "This church 
has ever been ready to welcome all. We know 
no distinction here. When, years ago, the actor 
was not welcomed in certain churches, we were 
glad to receive him, and we always shall be." 

A western manager, on his first visit to New 
York, expressed a desire to see this little church. 
A friend offered to accompany him, and the 
two attended a Sunday morning service. On 

Driftzvood of the Stage. 33 

leaving, they saw a well known manager, noted 
for his cold and austere manner, coming toward 
the church. This gentleman was a strict Ro- 
man Catholic, but had often been called upon 
to act as pallbearer at this house of worship. The 
organ was playing sweetly, and before the open 
door he stopped, removed his hat and stood rev- 
erently until the last note had died away; then 
he passed on. 

The name of Rev. Dr. George H. Houghton 
lives as a teacher of true religion ; but how many 
that read this can even recall the name of the 
one that refused to perform the funeral rites 
©ver a fellow man because he was an actor? 

34 Driftzvood of the Stage. 


Few persons of this generation are aware that 
H. J. Sargent was the first man in America to 
give the name "vaudeville" to the class of en- 
tertainment that it signifies to-day. Mr. Sar- 
gent's company had been playing at the Na- 
tional Theater, Cincinnati, and as the theater 
was to be given up to the French tragedian, 
Charles Fechter, for an engagement of four 
nights, the company was taken to Weisiger's 
Hall, Louisville, Ky., to fill the time. 

On the evening of February 23, 187 1, the 
bills at that house announced the appearance of 
"Sargent's Great Vaudeville Company, from the 
National Theater, Cincinnati." The company 
consisted of the Kiralfy Troupe, the Rigl Sis- 
ters, Gus Williams, Charles A. Vivian, Will 
Carleton, Jennie Benson, Kynock and Smith, 
Morrisey and Emerson, Oscar Willis, Prince 
Sadi d'Jalma and J. W. Ward. 

The supplanting of the word "variety" with 
"vaudeville," and inviting to the theater the 
more fastidious and refined elements of the 

Driftwood of the Stage. 35 

community did more to build the prosperity of 
miscellaneous amusement and give it prestige 
of respectability than did anything else. Va- 
riety shows were originally confined to places 
where the patrons were all men who would not 
attend unless they could drink or smoke. 

More and more the people are looking for 
the humorous side of the situation. This is why 
burlesque and vaudeville features have become 
so popular. The people have enough of tragedy 
in real life. They want a laugh, or at least 
a smile. The vaudeville house is looked upon 
by most people as the house of comedy. They 
know a place where their troubles cease both- 
ering them. They learn to crave for that method 
of forget fulness and yearn for the entertain- 
ment. The vaudeville house has proved a boon 
to the community, and the appreciation is mark- 
ed by the packed houses it attracts. 

Vaudeville in Europe is nothing like what 
it is over here. Every country has its own par- 
ticular style of theatrical amusement. They 
demand high-class vaudeville over there, and 
in the German cities, Leipsig, Dresden, and other 
places, new houses are going up all the time. 
The salaries are not so high but the performers 
do not have to work so hard. Engagements 

36 Driftzvood of the Stage. 

last a month at least, and in many cases two 
months, and there are no matinee performances, 
not even on Sunday afternoon. In Europe per- 
formers seldom make more than eight to ten 
jumps in any year. 

In Germany, and in fact all over Europe, the 
vaudeville houses are built on a different plan 
than in America. Underneath the theater in 
that country, they have a huge saloon or gar- 
den with a cafe and billiard room adjoining. 
If one does not fancy the show very much, he 
can go down stairs and enjoy his game or re^ 

In Austrian cities, Vienna and Buda Pesth, 
the vaudeville idea is still different, the re- 
freshment and entertainment features being di- 
rectly combined. There, the floor of the the- 
ater does not slant from the rear to the or- 
chestra, but is perfectly flat. Instead of the chair 
seats, as we have here, the Austrians sit around 
tables. About six o'clock supper is served, and 
the people go in and occupy the tables, and eat 
and drink. The German and Austrian could 
not be cramped up in a chair. He must have 
room to stretch himself, and he must have a 
long show. 

Driftzvood of the Stage. 37 

A theater built on the American plan could 
not exist there. Neither could an American 
vaudeville house live in England. They have 
their own style of music hall there, and they 
are wedded unalterably to that fashion. Vaude- 
ville in France does not amount to much, the 
French, except in Paris, depending mostly on 
their cafe concerts, with perhaps twenty sing- 
ers on the bill, and one or two vaudeville acts. 

What makes the vaudeville entertainment so 
popular is its cleanliness. The old-time variety 
theater with its uninviting surroundings is no 
more, and in place of the dismal-looking houses 
where this style of performance was given a few 
years ago, the finest theaters in the country are 
now devoted exclusively to vaudeville. Both 
manager and performer should be given credit 
for the change. The manager leaves nothing 
undone that will make his theater attractive, and 
for the care and comfort of his patrons. The 
employe is well looked after, is handsomely uni- 
formed and well paid. The dressing and wait- 
ing rooms for the actors have every conven- 
ience, and they have sense enough to realize it. 
The acts are properly staged and can be shown 
to good advantage. The class distinction that 
once existed between the legitimate and the 

38 Driftzvood of the Stage. 

vaudeville actor is a thing of the past. They do 
not now refer to each other as "bum legits," or 
''low variety," but work harmoniously in the 
same bill. 

Ladies and children are especially looked after, 
and should any one attempt to annoy them in 
any way he would have his money returned 
and forced to quit the place in short order. All 
acts must be suitable for refined audiences and 
offensive words are not allowed to be used at 
any time or by any person. Among the words 
prohibited are "damn," "devil," "slob" and 
others of that class, and reference to socks, feet, 
breath and poker games is prohibited. Even 
the much maligned mother-in-law can attend 
without fear of being ridiculed. 

Often it is wonderful where all the acts come 
from. The manager is always on the lookout 
for features that will please the patrons as well 
as fill the house. Military bands are taken from 
the concert stage, famous singers are taken from 
grand opera, and stars from the legitimate offer 
beautiful playlets. 

Some managers devote a certain morning 
each week to trying out amateur and unknown 
specialties. The theater is empty save those con- 
nected with the house, and perhaps a few 

Mrs. Fiske. 

Driftwood of the Stage. 39 

vaudeville agents on the lookout for a diamond 
in the rough. It is the most crucial test a sketch 
or a performer can be put to. Jokes are ghastly 
when given to empty seats, except the few oc- 
cupied by the stony-hearted committee. Songs 
sound hollow, dancers look ordinary, lines are 
hopelessly tame and the spirit of appreciation 
which makes or mars a thing is absolutely lack- 

Every morning there are more persons to be 
heard than time permits. About nine out of 
ten are not worth hearing. Tears flow copi- 
ously. Four out of five women break down and 
think their hearts are broken. How confident 
they are that if they could only have had an 
audience and lights, and the feeling that goes 
with amusement honors — how different it 
would have been. They straggle home down- 
hearted, discouraged, and despondent. What 
is the use ? They look wistfully at the bill- 
boards they are passing by and account for some 
other one's greatness as so much pull or so much 
luck. They forget that they have just had an 
opportunity, and if merit there had been any 
they would have been joyfully accepted. Man- 
agers are not spending wearisome hours watch- 
ing unknown amateurs for the mere pleasure of 

40 Driftzvood of the Sta^e. 

the thing. The hope of running on something 
good, a novelty, a genius like an angel un- 
awares, is the only thing that keeps them out 
front four or five hours or permitting a lot of 
would-be artists to use their time and attention. 
The restrictions though rigid are few, and sel- 
dom of the sort that cannot be obliterated with- 
out detriment to the sketch. 

The great trouble confronting vaudeville man- 
agers is getting the successful artists to produce 
new things. Once the clever people make a hit 
they immediately lie back and rest jauntily upon 
their laurels, imbued with the impression that 
the next two or three seasons are easy. Half, 
more than half, the people seen on trying-out 
mornings have no right to be going through 
the stage door. There never was a man or wo- 
man yet who did not think in their secret soul 
that they could act. A great many of these men 
and women try it, and when awful and abso- 
lute failure is their reward they wring their 
hands and screech to high heaven with disap- 
pointment, and blame managers. 

But these managers are the most lenient of 
men. They realize fully the awkwardness of 
the position, the inevitable stage fright that is 
afflicting the performers before them. They 

Driftwood of the Stage. 41 

know that every new and untried sketch is raw 
material and bound to begin badly, or begin well 
and end badly. They wait patiently for action 
to develop, for lines to grow brighter, for per- 
formers to gain self-possession. Every sketch, 
every turn is given a fair trial ; but when in the 
face of all conditions, the act is hopeless from 
all points of view, it is only fair to call it off and 
give possibility a show. In the course of time 
good acts, clever workers, agreeable personals, 
novelties and interesting turns are weeded out 
and given to the public. 

Great care is used in booking the acts and it 
is very seldom a mistake is made. The most 
notable case on record is of an ex-prize fighter 
who was engaged at one of the houses to present 
a monologue. He was a coarse creature with 
an abominable dialect, and had other habits of 
speech and conduct that unfitted him for polite 
society, but it was thought he would prove a 
great drawing card. His appearance at the 
third performance was one of the most lament- 
able happenings in vaudeville history, and it 
was necessary to ring down the curtain on him 
twice. He came before the audience in a thor- 
oughly unpresentable condition, being so far un- 
der the influence of liquor that he had no idea 

42 Driftwood of the Stage. 

of what he was talking, and made several dis- 
tasteful allusions. 

At first many of the audience thought that 
his rambling and impertinent talk was in his 
monologue, but as he went on he grew more 
rank in tone until one or two very serious 
breaks brought his hearers to a realization that 
the man was not acting but was intoxicated. 
Next he took some bills from his pocket and of- 
fered them to the orchestra leader. There were 
gasps and laughs and expressions of dissatis- 
faction from the audience. Then he lost all 
track and began babbling inanely bits of stories, 
reminiscences of his career and boasts about his 
prowess. It was silly but there was nothing 
profane in what he said. 

He realized himself that he was drunk and 
attempted to tell the audience about it, but the 
management rang down the curtain and cut 
him off. In a few seconds he rushed out 
through the first entrance before the curtain and 
tried to speak, but he was hissed almost off his 
feet. He then tried to recite a sentimental 
poem, but the management saw the utter hope- 
lessness of the case and the ridicule to which he 
was exposing the house, and the curtain was 
rung down again. The manager came before 

Driftwood of the Stage. 43 

the audience and announced the cancellation, 
saying that the house could not afford to allow 
a performer to insult its audiences. The party 
had been engaged in perfect good faith, as he 
had made such a tremendous success in the east 
where he had been playing for the previous few 
weeks. Before making a contract with him rig- 
orous inquiries had been made into the charac- 
ter of the act, and he had been given every 
assurance from the other managers that it was 
all right. On this recommendation he made 
the contract, and he regretted very much the 
fact that the person had ever been permitted 
to appear at the house. The audience applauded 
the action heartily, and everyone seemed satis- 

There is more harmony among vaudeville per- 
formers than in any other branch of the pro- 
fession. Of course, no one wants to open or 
close the show, and once in a while a protest is 
made as to whom they follow on the program. 
Conceited persons do not remain so long, as 
something is sure to occur that will restore them 
to their normal condition. A performer taking 
part in a private entertainment at the conclusion 
of his act was greeted with loud and continued 
applause. Returning to the stage he bowed 

44 Driftwood of the Sta^e. 

and bowed to the audience, but the cheers and 
applause did not stop. Finally, the one in charge 
called out to him : "Come off. That is not for 
you. The governor of the state has just come 

Strikes are unknown among actors, not even 
the sudden epidemic of sickness that broke out 
under the auspices of the White Rats of Amer- 
ica, in 1901, and which affected a number of 
theaters in the east, could hardly be called a 
strike. A company playing at the Olympic The- 
ater, Chicago, a number of years ago, packed up 
their belongings and refused to appear on the 
same bill with two colored performers, and the 
manager was compelled to accede to their de- 
mands or close the house. 

A woman who had no business on the vaude- 
ville stage, or any other stage for that matter, 
came near closing the Grand Opera House, 
Philadelphia, for a time, when it was being 
conducted as a vaudeville house. The profes- 
sion was not adopted by her as a means of live- 
lihood as she was immensely wealthy in her own 
right, and by marriage connected with the 
wealthiest families in the Keystone State. It 
was not to acquire fame, as she moved in the 
most exclusive society and her husband held a 

Driftwood of the Stage. 45 

position of rank in the service of his country. 
It might have been to gain notoriety. 

Her name was found heading the bills that 
contained the names of actors who had been 
recognized favorites for years, and she picked 
her place on the program. She was treated with 
the utmost courtesy by all. During rehearsal 
on the day she was to make her first appear- 
ance at her home city, she made complaint as to 
her dressing room, claiming it was too near the 
other members of the company, whom she did 
not know and with whom her position in society 
would not allow her to associate. A fine place 
for a remark like that. Other uncomplimentary 
things that had been said of the profession in 
general were recalled, and a fight was on. A 
committee informed the manager there would 
be no performance if the offending party was 
to appear, and things looked as if the house 
would have to be closed. A truce was arranged 
by an apology being made, but the week's en- 
gagement was far from pleasant to all. Among 
those who protested longest and loudest against 
appearing on the same bill with such a person 
was an exhibitor of trained dogs and monkeys. 


46 Driftwood of the Sta^e. 


It is to the stage and the people of the stage 
that the Benevolent and Protective Order of 
Elks owes its existence. That band of pioneers 
who were its founders had no thought that the 
order would ever reach such gigantic propor- 
tions, and although it has long since outgrown 
the limitations that made members of the the- 
atrical profession alone eligible for membership, 
the order has ever been in sympathetic touch 
and fraternal union with the people of the 

The straight-laced excise laws which were 
passed by the legislature of the state of New 
York in the year 1866 led incidentally to the 
foundation of the Elks. Actors, as a rule, are a 
jovial, free-hearted set, and with a rigid en- 
forcement of the excise laws they were deprived 
of one of their few sources of amusement. Sun- 
day was the only day in the week which the actor 
at that time could call his own, and his mind 
demanded relaxation from the cares lof the 
week, so he generally sought the companion- 

Driftwood of the Stage. 47 

ship of kindred spirits in the profession to dis- 
cuss the latest gossip of the theater, the advent 
of some new star, the prospects of the coming 
season, and these discussions, of course, partook 
of the fashion and custom of the world of un- 
conventionality. The new excise law came like 
a bombshell on these assemblies, and not only 
scattered the participants, but put an end to all 
the old places of meeting. 

For a while the actors were at a loss what to 
do. Their meetings had become so regular, al- 
though they had no organization, and they 
had become so cemented together in the bonds 
of goodfellowship that the deprivation made 
them feel instinctively the need of organiza- 
tion. How to accomplish that result, however, 
did not present itself to any of their minds for 
quite a while afterward, when it was finally re- 
solved to form a society patterned somewhat 
after the Buffaloes, a famous English convivial 
organization composed entirely of actors. 

The new society took the somewhat ambigu- 
ous name of the Jolly Corks. Whether the 
title was adopted because of the lightness of 
spirit, which was a prime characteristic of the 
little party, or on account of the connection of 
corks with the theatrical profession, has never 

48 Driftwood of the Stage. 

been fully explained. At first only a few were 
banded together. Each week a purse was raised 
by small contributions from the members which 
was used to pay for the meeting room and buy 
refreshments and a lunch for the company. 

It w^as at the boarding house of Mrs. Gies- 
man, at 188 Elm Street, New York, that the 
first meetings of the Tolly Corks were held. Mrs. 
Giesman's house was at that time a favorite re- 
sort with a number of choice spirits, among 
whom were several musicians and others con- 
nected with the theatrical profession. These, 
with a few congenial associates, were in the 
habit of assembling in the parlor on Sunday af- 
ternoons for the purpose of spending the time 
in social intercourse. It was at one of these 
meetings in the fall of 1867 that the association 
was given a permanent form, and the first offi- 
cers elected. Charles A. Vivian was the first 
Imperial Cork, as the presiding officer was 
designated. The original organization consist- 
ed of fifteen members. All were not members 
of the theatrical profession, and their names 
and vocations are hereby appended. Charles 
A. Vivian, T. Grattan Riggs, William Carleton, 
George F. McDonald, William Sheppard, 
Henry Vandemark and William Lloyd Bowron 


Driftwood of the Stage. 49 

were connected with the amusement profession ; 
Richard Steirly was a music teacher; John T. 
Kent, E. M. Piatt, Harry Bosworth and John 
H. Blume were connected with mercantile 
houses; Frank Langhorn and M. G. Ashe were 
photographers, and John G. Wilton was a wood 

The organization prospered from the start, 
it being semi-secret and quite exclusive. A re- 
solution was passed whereby none but members 
of the dramatic, minstrel and equestrian pro- 
tessions were admitted, and of those classes 
only men who were congenial to the founders 
were eligible to membership. In the meantime 
an initiation service had been provided for ad- 
mission of candidates to membership. 

After the Jolly Corks had been in existence 
lor some time better things for the organization 
were thought of by the members, and at a 
meeting in December, 1867, the question arose 
as to the feasibility of creating an order for 
charitable as well as social purposes. The idea 
met with general favor, and it was decided to 
form a society with a broader scope and a 
nobler purpose. A committee of seven was 
appointed with full power to provide a consti- 
tution, ritual, by-laws, and a name for the new 


50 Driftzvood of the Stage. 

order. This committee consisted of George W. 
Thompson, William Lloyd Bowron, George 
F. McDonald, William Sheppard, T. Grattan 
Riggs, James Glenn, and Henry Vandemark, 
who, after several weeks' labor reported a con- 
stitution, ritual and by-laws, and recommended 
the name of the Benevolent and Protective 
Order of Elks. 

The committee who were appointed to find a 
name to substitute for Jolly Corks were thor- 
oughly Americans, and naturally wanted a 
distinctive American name. Buffaloes had 
been suggested, but although the animal was a 
native of the country the knowledge that an 
English order had usurped the name caused 
the suggestion to be discarded. The minds of 
the committee seemed to run to animals. Bears 
were thought of, but as those animals had few 
inviting traits, being coarse, brutal and morose, 
the thought of adoption was cast aside; beavers 
industrious enough, but too destructive; foxes 
too cunning and crafty; and so on through the 
list. In choosing the elk, the founders were 
inspired with poesy. In all natural history 
there is no animal more beautiful. Majestic of 
mien, swift of foot, timid and shy, an eye as 
soft as childhood's, the elk is, nevertheless, re- 

Driftwood of the Stage. 51 

solute in the defense of its rights. The prey 
of many, it brings no grief to any child of the 
forest. It is neither rapacious nor revengeful. 
Its home is sylvan, and its ways are ways of 

The constitution and by-laws were adopted 
February 16, 1868, and a temporary organiza- 
tion effected. Under the title of Benevolent 
and Protective Order of Elks, Charles A. 
Vivian presided at one session of the lodge, in 
which he conferred the first degree on a num- 
ber of candidates, but not until three months 
later, May 17, 1868, was the new ritual pre- 
sented to the lodge and adopted. At the meet- 
ing of May 24, one week later, the committee 
invested the brethren of the Jolly Corks with 
the grips, signs, pass-words and second degree 
of the Elks, and on the same evening the first 
officers of the new order were elected. 

The first initiation fee was placed at two 
dollars, but as the lodge was rapidly increasing 
ill membership, and it was found necessary to 
procure larger quarters, the initiation fee was 
raised to five dollars. In December, 1868, the 
entire membership of the Benevolent and Pro- 
tective Order of Elks consisted of fifty-five per- 

52 Driftwood of the Stage. 

sons, all of whom, with a few exceptions, were 
members of the theatrical profession. 

The following gentlemen were elected as the 
first officers of the new order: George W. 
Thompson, Right Honorable Primo and 
Exalted Ruler; James Glenn, First Assistant 
Right Honorable Primo and Esteemed Leading 
Knight; William Lloyd Bowron, Second As- 
sistant Right Honorable Primo and Esteemed 
Loyal Knight; George F. McDonald, Third 
Assistant Right Honorable Primo and Es- 
teemed Lecturing Knight; William Sheppard, 
Secretary; Henry Vandemark, Treasurer; Al- 
bert Hall, Tiler. 

The other members of the order at the time 
were as follows: Thomas G. Gaynor, William 
H. Smith, Hugh Dougherty, James Carter, 
John Mulligan, Harry Stanwood, William Car- 
ter, Archie Hughes, M. G. Ashe, Joseph 
Leonard, Hugh O'Neill, Claude Goldie, John 
H. Blume, John F. Oberist, Henry Rapp, 
William Hallam Brown, James W. Lingard, 
William G. Griffin, Louis Nevers, George 
Rockafellar, George J. Green, Harry Bosworth, 
John T. Kent, John G. Wilton, Edward Eddy, 
E. M. Piatt, Charles F. Shattuck, John W. 
Vanness, Robert Spears, T. Grattan Riggs, 

Driftwood of the Stage. 53 

Antonio Pastor, John Shannon, Fernando Pas- 
tor, Henry P. O'Neill, William Carleton, John 
Queen, Thomas Donnelly, Joseph Norcross, 
James W. Brady, Frederick Hoffman, John F. 
Poole, Cool White, George Guy, John H. 
Brewer, Frank Langhorn, Ernest Neyer, Rich- 
ard Steirly, George W. Green and Robert S. 

The first entertainment under the auspices 
of the new order was a ball given at Ferrero's 
Assembly Rooms, Broadway and Twenty- 
eighth Street, New York, April 16, 1868. The 
first benefit for the purpose of augmenting the 
funds of the lodge, was advertised as the "First 
Annual Benefit of the Performers' Benevolent 
and Protective Order of Elks," and took place 
at the Academy of Music, New York, on the 
afternoon of June 8, 1868. The first Ladies' 
Social Session in Elkdom was held December 
25, 1870. Brother Tony Pastor was chosen to 
preside. The first Memorial Services, at that 
time called a Lodge of Sorrow, was held at 
Masonic Hall, New York, on the afternoon of 
March 20, 1870. The hall was appropriately 
draped, and an excellent program was rendered, 
of which music was a prominent feature. From 
this time the exercises commemorative of de- 

54 Driftwood of the Sta^e. 

parted brothers were brought to a systematic 
basis, and were held annually on an elaborate 

In less than a year continued additions to 
their ranks rendered another change necessary, 
and the lodge was again compelled to seek 
larger quarters. The increase in the member- 
ship was due to the prominence given the order 
by its elaborate theatrical benefits, and also from 
the fact that no restriction as to profession was 
placed on membership under the constitution. 

Little did that small coterie dream that they 
were sowing the seeds that would bring forth 
such fruit. They builded better than they knew\ 
In love of humanity they planted the germ of 
a great fraternity, an organization that reaches 
over the whole union, embracing many lodges 
in every state, and has dispensed millions of 
dollars for the aid of mankind ; an order which 
gathers in gentle charity to dispense it, as the 
silent rain — charity, but not alms. How many 
thousands of these unknown records of mercy 
are inscribed in wounded hearts to-day? 

They taught charity without ostentation, the 
one great secret of the order being to dispense 
charity without publicity, and to keep sacred 
the name of a brother receiving aid or relief 

Driftivood of the Stage. 55 

from the order. They taught us to write the 
faults of our brothers on the sand, and to en- 
grave their virtues on the tablets of love and 
memory. They taught that not only for the 
living must we manifest regard and fraternal 
care, but for those who have gone before, who 
have passed from earth and have solved the 
mysteries of life and death, and each year 
solemn services are held to do honor to their 

There seems to be a desire in every human 
heart not to be forgotten. We all desire to 
live again, and that our names and memory 
shall not perish from the earth. It is a thought 
dear to the heart of every man, that after being 
called to his last account, that those friends who 
survive us will annually meet and that some 
one of our friends will each year, in loving 
phrases, recall our virtues, so that others will 
keep forever green our memory. Those who 
founded this noble order have nearly all passed 
through the gate which closes on earth's twi- 
light and opens on Heaven's dawn. They were 
the men w^ho exemplified the grandest principles 
the world ever knew — Charity, Justice, Broth- 
erly Love and Fidelity, 

During the first year of its organization not 

56 Driftwood of the Stage. 

a death occurred in the lodge, but in 1869 one 
of its members passed away, and Brother Albert 
Hall has the distinction of being the first mem- 
ber of the Benevolent and Protective Order of 
Elks to be called by the Exalted Ruler above. 
Brother James W. Lingard, a prominent and 
popular actor-manager, died in July, 1870, and 
his funeral was the first public demonstration 
in which the Elks took part. The funeral of 
Brother Lingard took place on a Sunday after- 
noon, and the lodge had charge of the service. 
The members were out in force, and arrayed 
uniformly in dark clothing, silk hats, white 
aprons and gloves, with a sprig of amaranth 
on the lapel of their coats made a striking ap- 
pearance. They had no music; they needed 
none. The Elks had often been heard of but 
never seen, and no finer-looking body of men 
ever appeared on the streets of that great city. 
The first set of fours was composed of Brothers 
Nelse Seymour, John Mulligan, George F. Mc- 
Donald and T. Grattan Riggs, all big fellows, 
and now numbered with the absent. Following 
them were the familiar faces of all the pro- 
m.inent managers and actors of that day. 
Brother George W. Thompson was the Exalted 
Ruler of the lodg-e at that time and conducted 

Edward H. Sothern. 

Driftwood of the Stage. 57 

the services. Of the participants on that 
occasion very few are now alive, but the ones 
that are can still be found in the ranks. 

In the Cemetery of the Evergreens at Brook- 
lyn, N. Y., is the Elks' Rest of New York 
Lodge, No. I. This rest was dedicated in 
1879, and was the first of the many now in the 
country, and about the handsome monument 
are clustered the carefully kept graves of its 
former members. The first interments in this 
plot were Brothers Henry Mason, John Mulli- 
gan, John C. Campbell, James Clark and Joseph 
Knight, whose remains were brought from 
another cemetery and laid to rest at one and 
the same time beneath the branching antlers of 
the Elk, the emblem of the order they loved so 

58 Driftwood of the Sta^e. 


Dramatic authors at times pay too little at- 
tention to detail, and very often scenes and 
situations are presented that have a tendency 
tc reflect on the intelligence of the audience. 
In farce comedy the ridiculous is looked for, 
and when a tramp is wheeled on a hand truck 
into a drawing room filled with guests in even- 
ing dress, it calls for roars of laughter; but in 
the serious drama a certain amount of consist- 
ency is looked for. The stage manager will 
often become an accessory, and allow ''General 
Putnam, the Iron Son of '76," to stand off a 
body of British soldiers with a nickel-plated, 
self-acting revolver, which was not invented 
until many years after. This worthy has also 
been known to present as the house of the 
Borgias a modern exterior, the perspective 
showing a lamp post, fire hydrant, a well paved 
street and telegraph wires. 

What excuse can be offered by a manage- 
ment that will allow a high desk to be placed on 
a platform in Herald Square, and turn that busy 

Driftwood of the Stage. 59 

thoroughfare into a slave market? To see 
Simon Legree examine the teeth and feel the 
muscles of a lot of shackled negroes, crack his 
whip at the meddlesome Marks, and then lean 
up against one of the pillars of the elevated rail- 
way while he outbids everybody in the neigh- 
borhood, is asking a little too much of the 
audience under the claim of stage license. 

A well known actor wrote a military play 
in which he appeared as a gruff old colonel. 
During the action of the play he referred to 
and introduced a young officer in the cast as 
lieutenant. He did not seem to know that in 
army circles an officer of this rank is referred to 
as mister by his superiors, nor did he notice 
that the lieutenant's sleeves were adorned with 
a sergeant's chevrons. Another one of these 
military playlets was spoiled by a lack of at- 
tention to detail. The play was of the time of 
the Mexican war. The actor cast for the part 
of a major of artillery wasely sought the advice 
of an experienced military tailor, who from the 
charts of that period provided a uniform cor- 
rect in every particular, worn by officers of that 
rank and branch of the regular service at the 
time. Not so with the one entrusted with the 
juvenile part. While an officer of inferior rank 

6o Driftwood of the Stage. 

in the same regiment with the major he had 
ideas of his own as to miHtary dress, and ar- 
rayed himself in a uniform of varied colors, and 
the epaulettes, sashes and gaiter tops added by 
him, instead of looking like an officer in the 
regular army, had a tendency to make him look 
more like a drum major in a country band. 

One of our most successful playwrights 
introduced a sheriff as the leading character in 
one of his plays. The sheriff wishes to resign 
and the resignation is sent to the city council 
for action. When did the sheriff become a city 
officer, and why was that resignation not sent 
to the governor of the state, who alone had 
jurisdiction ? 

For many years we were visited by a melo- 
drama which exploited the daring of a young 
fireman. The star wore the regulation uniform 
of a paid fireman. In the conflagration scene 
he is first on the ground, followed by a body 
of men dragging an old-time hose-cart, and 
attired in the red shirt and fire hat of volunteer 
days. In the last act he informs his sweetheart 
that he has been promoted for bravery at the 
aforesaid fire, and that he now wears the uni- 
form of a fire commissioner. As a rule, fire 
commissioners are selected from a city's solid 

Driftwood of the Stage. 6i 

business men, and some would bow themselves 
gracefully out if a uniform went with the 

In the machine-made melodrama will be 
found the most improbable in plays. An Eng- 
lish member of the guild gives the following 
example of his ingenuity : Among the frequent 
murders in his play is one by the tickling tor- 
ture, but the villain is reserved for a more 
picturesque fate than that. In the course of 
the play he has fatally stabbed his wife. In the 
last act his pursuers track him into a secret 
Egyptian chamber in his house. Among them 
is a detective, who, at various times, disguises 
himself as a priest, a visitor to a massage estab- 
lishment, and a maiden aunt. The Egyptian 
chamber is dark and a life-sized marble statue 
frightens the hiding murderer. When he dis- 
covers what it is he takes a hammer to demolish 
it, but the figure assumes the identity of his 
murdered wife, and menacingly stalks toward 
him. He cowers in a corner, but the statue that 
has come to life pursues him and thrusts a 
dagger into his heart. The pursuers break in 
only to find a corpse in the presence of a marble 

Another of these authors tells an impossible 


62 Driftwood of the Sta^e, 

sort of a story in an impossible sort of a 
manner. Imagine for a moment a mother who 
has just quarreled with her father, and who 
threatens to take her own life if her fond parent 
tries to carry out his threat of forcing his child 
to marry his adopted son, who, unknown to 
him, has been robbing the firm of which the 
two men are members. The younger man is 
discovered altering the books of the firm, and 
when questioned by the senior partner the youth 
stabs his benefactor, who immediately falls 
dead. The son leaves the place and the body 
is discovered by the granddaughter of the old 
man, who falls over his body and asks him who 
did it, and he replies, "Your mother, child, 
your mother." And thus it is arranged that 
the mother is arrested and held for trial on the 
charge of murder. The strongest evidence 
against her is the fact of her having quarreled 
with her father just prior to his death, and that 
there was some blood on her fingers and hand- 
kerchief when the body was discovered. The 
only missing link was her dagger, which the 
district attorney, who loved the persecuted 
woman, had taken from her and concealed. 

In the last act of the improbable story the 
courtroom is shown, and after the usual tedious 

Driftwood of the Stage. 63 

dialogue of such scenes the mother is about to 
be convicted when her daughter enters and pre- 
sents a note that had been given her by a horse 
thief on his way to the penitentiary, stating 
that he was a witness to the kilUng and that 
the adopted son was the guilty party. And 
then, by the mercy of a stage Providence, the 
villain walks to a conveniently nearby window 
and succumbs to a kindly shaft of lightning 
from the heavenly wings above. 

Can you for a moment imagine an author 
asking an audience to accept the following with- 
out protest? One scene in his play shows the 
death chamber at Sing Sing prison, and the 
electric chair awaiting its victim. In an ad- 
joining cell sits a condemned man who must 
die at daybreak, reading his bible. An Irish 
guard detailed to watch him breaks the silence 
with: "It seems hard for a fine young fellow 
like that to die for a murder he never committed. 
He hopes for a pardon, but it is too late. He 
must die tomorrow. It's too bad, but it is hard 
to keep a good man down." This is a music 
cue, and after a chord, the jailer steps to the 
footlights and sings the song, ''It's Hard to 
Keep a Good Man Down." For an encore he 
sings "Mr. Dooley." Soon after a voice is 

64 Driftwood of the Staf^e. 

heard without. The unfortunate man rises to 
his feet. The stone walls totter and fall, and 
in another instant his faithful sweetheart rides 
into the death chamber on the back of a foam- 
ing steed and hands the condemned man a 

In a production of *'The Merchant of 
Venice" at a Chicago theater, a room in 
Portia's house is illuminated with incandescent 
lamps. Shylock takes snuff, and a band of 
serenaders sing the Pilgrims' chorus from 
"Tannhauser" as they float down the canal. 

One of Chicago's Ten, Twenty, Thirty the- 
aters, where they seemed to be absolutely with- 
out fear in the matter of productions, was to 
have a week of "Cyrano de Bergerac." It is 
related that when the stage manager first an- 
nounced to the company that the play was to 
go on, one of the extra ladies employed in the 
theater exclaimed : " 'Cyrano de Bergerac' 
I've never seen that piece." And a wise 
maiden standing next to her, who had been 
associated with productions in that particular 
abiding place of the classics long enough and 
often enough to feel that she was somewhat of an 
authority, stopped chewing gum and observed: 
**Well, if I seen it once I seen it a dozen times. 

Driftwood of the Stage. 65 

Been 011 in it twict. Personally, I think it was 
the best thing that was ever writ." On its 
presentation one of the actresses had what is 
called in stage parlance ''an entrance ad lib" — 
which means that she had a few idle seconds to 
fill in with any bit of business her own in- 
genuity might suggest. This she did by 
caroling a few bars of ''The Marseillaise." The 
manager rushed back on the opening night and 
said, "Young woman, do you know that you 
are beating the flag by about four hundred 
years ?" 

Of the importance of detail in the drama it 
is told how Charlotte Cushman was once act- 
ing Meg Merrilles, when Henry Irving, then 
a young actor, was in the cast. In one scene, 
in answer to Meg's appeal for money, it was 
Mr. Irving's business to hand her his purse, 
filled with broken crockery, then the stage 
substitute for the coin of the realm. Miss 
Cushman gently suggested to him the superior 
truth of opening the purse, selecting a coin and 
giving it to her. No matter how magnificent 
it might look, argued the great actress, it was 
hardly natural for a gentleman to hand over 
a full purse of gold to a crazy mendicant. 

When Sardou ofiFered to the public his play 

66 Driftwood of the Stage. 

of "Dante," a piece of business was introduced 
which called for a rebuke from one who seemed 
well versed as an archaeologist and antiquarian, 
in the last tragic scene at Avignon a clock case 
is opened by the hand of Dante, and a pendu- 
lum in the form of Time wielding a scythe is 
revealed. Unfortunately, in the days of the 
great poet neither the pendulum nor a clock 
cased for its protection had been invented. At 
that time the power provided by the weight 
escaped through the action of a balanced bar, 
loaded at its extremities. No clock had a 
pendulum before 1657 — 336 years after 
Dante's death — in which year was devised the 
short or bob pendulum, which was first brought 
into use in England in 1661. This attribute of 
the train of wheels that served to mark the flight 
of time continued until 1680, when the long 
pendulum, vibrating in a smaller arc, and with 
a greater regularity, and other improvements — 
including the case for protection — were intro- 
duced. Thus a Dutch conceit of later times 
forced its spectacular way into Italian drama. 

About the worst on record was a production 
in which the heroine, reduced to poverty, is 
found living in a bare room on the top floor 
of a tenement house. A single chair and a 

Driftwood of the Stage. 67 

pine table, on which are a pitcher and a crust 
of bread is all that can be seen. The villain 
enters, and his advances being repulsed, he 
leaves, threatening to burn the house. Smoke 
begins to fill the room. The lady tries the door. 
It is locked. She rushes to the window. It is 
so high no one on the street can hear her voice. 
The telephone! Through this instrument she 
informs the outside world that the house is on 
fire, and help arrives. Just think of it! In an 
apartment of this kind to find hanging on the 
wall a telephone that costs at least twenty-four 
dollars a year, payable quarterly in advance ! 

A Brooklyn theater, which presented the bet- 
ter class of plays with a carefully selected stock 
company, offered a play of the time of Na- 
poleon. The opening act was a representation 
of a drawing-room in the Hotel Chautereine, 
Josephine's residence in the Rue de la Vic- 
toire, at the time of the return from Egypt in 
1799. One of the ladies in tlje cast is discov- 
ered sitting at an upright piano, and runs her 
fingers idly over the keys. The upright piano in 
a setting of this kind was, of itself, bad enough, 
as they had not yet commenced making that 
style of piano, the first patent for an upright 
piano having been granted in the latter part of 

68 Driftwood of the Stage. 

1799, but its cover was an elaborate silk affair, 
the side toward the audience advertising in 
large gold letters the name of the maker. It 
was indeed a grand sight to see Talleyrand, 
Murat, the Bonapartes, and the dignitaries of 
the church talking of the affairs of state and 
the conquest of nations about an upright piano 
manufactured a hundred years later in a small 
hamlet on Long Island. 

Driftzvood of the Stage. 69 


Even to those who take more than a passing- 
interest in theatrical affairs, it may not be 
known that four of our most famous American 
tragedians were compelled to end their dramatic 
careers and say farewell to their admirers in the 
play of "Richelieu." It indeed seems strange 
that these actors should unintentionally have 
selected for their retirement a play that presents 
one of the noblest figures on the stage — the 
solitary old man who remembers his lost youth 
and the dying friend who committed a daughter 
to his paternal care — the unselfish heart grown 
old in sorrow^ without the least hope of happi- 
ness for itself, lovingly striving for the hap- 
piness of others. 

Even this grand character, a noble and 
touching image of righteous power protecting 
innocent w^eakness, could not escape the bur- 
lesquers. On January 9, 1871, Edwin Booth 
presented "Richelieu" at his own theater in 
New York, which was revived with such 
splendor of scenery, costumes and stage em- 

yo Driftwood of the Sta^e. , 

bellishments that had never before been dis- 
played. This play was kept on for forty-eight 
performances, and during its run, in February, 
1 87 1, George L. Fox presented a burlesque of 
Mr. Booth's Richelieu at the Olympic Theater 
in the same city. Jennie Yeamans, then known 
aj^ an infant phenomena, played the part of 
Joseph, and assisted Mr. Fox as the Cardinal 
in drawing with a piece of chalk the awful circle 
of the Tammany Ring around the form of Lillie 
Eldridge as Julie. The text was followed 
closely enough to preserve the' plot of the story ; 
it contained, as well, a great deal that was ludi- 
crous and bright, and it never sank into im- 
becility or indelicacy, which is saying much for 
a burlesque. 

Edwin Forrest, under whose influence the 
American stage began to assume a distinctive 
character, closed his dramatic career on April 
2, 1872, at the Globe Theater, Boston, appear- 
ing as Richelieu. Mr. Forrest obtained the 
most of his popularity and large fortune by his 
masterly impersonation of the Indian Chieftain 
Metamora, but his Richelieu was always a grand 
performance. Mr. Forrest was the original 
Richelieu in this country. He played the part 
first at Wallack's National Theater, New York, 

Driftwood of the Stage. 


in 1841, supported by Corson W. Clarke, 
George W. Jamieson, and J. W. Wallack, Jr. 
The part of Julie was acted by Virginia Monier. 
He received the manuscript from Mr. Bulwer 
direct for production in America, and brought 
it out simultaneously with its original produc- 
tion by Mr. Macready at the Covent Garden, 
London. Richelieu was the last part played 
by Mr. Forrest in New York. On February 6, 

1 87 1, he commenced an engagement of three 
weeks at the Fourteenth Street Theater, New 
York, playing five nights a week. He repre- 
sented Lear for ten nights, and on the 19th of 
the same month he appeared as Richelieu, but 
he was too much broken in health to portray 
even the feeble Cardinal. He struggled through 
it for a night or two, broke down completely, 
and the house was closed. On December 7, 

1872, he made his last pubHc appearance, giving 
a reading of "Othello" at the Tremont Temple, 

Mr. Forrest was a native of Philadelphia, 
and made his first professional appearance on 
the stage of the South Third Street Theater at 
that city. His professional career extended 
over a period of fifty years, during half of 
which he was the leading tragedian of America, 

^2 Driftwood of the Sta^e. 

and, perhaps, the world. It was in 1845, at 
the Princess' Theater, London, in the character 
of Macbeth, that Mr. Forrest was hissed, and 
he was refused permission to play "The Lady 
of Lyons" and "Richelieu" by Mr. Bulwer, as 
Mr. Macready had been successful in those 
plays. This indignity he ascribed to Mr. 
Macready, and an incident that precipitated, on 
Mr. Macready's appearance in America some 
time later, the New York Astor Place riot. 

During his career all sorts of tokens of ap- 
preciation were showered upon him. He 
inspired as well as paid the dramatists of his 
time, and the poets paid him tribute ; medals were 
cast in his honor, and busts of him were made. 
And his acting won direct and even extrava- 
gant eulogy, not only at home, but even in 
England — although there his controversy with 
Mr. Macready raised up a multitude against 
him, for Mr. Macready at home had a following 
as great as Mr. Forrest at home. 

On the east side of South Third Street, 
midway between Walnut and Spruce Streets, 
Philadelphia, stands St. Paul's Protestant 
Elpiscopal Church, an old brick structure, dating 
back to 1760. It is surrounded by open space, 
paved with brick, and on the north and south 

Driftzvood of the Stage. 73 

sides are long lines of family vaults, where 
repose the bones of many men who have left 
their mark in the history of the Quaker City. 
The front is screened by a thick wall of brick, 
with three large wrought iron gates, through 
which a view can be had of the church from the 
street. On the south side of the church, the 
fifth from the gate, is the vault of Edwin For- 
I est, one of the greatest tragedians and ex- 
ponents of Shakespeare that the world has ever 
known. A slab lies flat over the aperture to 
the vault, and no ostentatious monument rears 
its columns to make a distinction in death. 
The grave of the tragedian is simple and gives 
no indication of his stormy and eventful career. 
He died at his home at Philadelphia, December 
12, 1872. All of his kith and kin passed away 
before he himself was laid away in his family 
vault, and his grave is seldom visited. 

Edmon S. Conner, who made his first pro- 
fessional appearance as Young Norval, in 
^'Douglas," at the Walnut Street Theater, 
Philadelphia, March 23, 1829, brought his 
dramatic career to a close at the Opera House, 
Patterson, N. J., in the spring of 1885, when 
he played Richelieu for the 1113th time. It 
was a favorite with him in his early days, and 

74 Driftwood of the Sta^e. 

lemained a favorite to the end of his career. 
1:: is stated that he never witnessed a perform- 
ance of this play. He died at Rutherford, N. 
J., December 15, 1 891, in the ninety-second year 
of his age. His funeral took place at *'The 
Little Church Around the Corner," and the 
interment was in the family plot in Evergreen 
Cemetery, Brooklyn, N. Y. 

Thomas W. Keene, by reason of illness, was 
compelled to end his dramatic career at the 
Grand Opera House, Toronto, Canada, May 
23, 1898, the bill being '^Richelieu." The ill- 
ness proved fatal, and he passed away June i, 
1898, at his home at Castleton Corners, Staten 
Island, N. Y. 

Mr. Keene possessed a versatility which was 
unusual, and he was equally at home in tragedy 
and melodrama. One of his best impersona- 
tions was Richard HI. When he acted him, he 
was consistent, and his dressing of the part 
was particularly careful and rich. For over 
a quarter of a century he was a favoite with 
the playgoing public, and with a limited reper- 
tory he preserved a hold upon their affections 
equal to that which has been enjoyed by the 
most brilliant lights in the theatrical world. He 

JUWA Mari^owe. 

Driftwood of the Stage. 75 

now peacefully sleeps in a little cemetery within 
sight of his former home. 

John McCullough held his last rehearsal at 
McVicker's Theater, Chicago, September 30, 
1884. The great tragedian had called a re- 
hearsal of ''Richelieu." Never was a sadder 
scene enacted in a theater. It was a mock 
rehearsal. It had barely commenced before he 
strayed off into the fourth act, where the de- 
crepit Cardinal-statesman is intercepted in the 
Garden of the Louvre by Baradas. The arch 
plotter says to his companions : "His mind and 
life are breaking fast." 

The tottering churchman, overhearing him, 
turns with reviving energy and cries : 

"Irreverent ribald! 
If so, beware the falling ruins! Hark! 
I tell thee, scorner of these whitening hairs. 
When tliis snow melteth there shall come a flood! 
Avaunt! My name is Richelieu! I defy thee!" 

As he uttered these words his voice rang out 
like a trumpet. A moment later he turned and 
left the theater. Every one present was in tears. 
Half an hour later, at his hotel, this fine actor 
was told he must take a rest. 

Mr. McCullough made his last appearance 
before an audience at McVicker's Theater, 

76 Driftwood of the Stage. 

Chicago, September 29, 1884, as Spartacus, in 
"The Gladiator." He made his first appearance 
on the stage at the Arch Street Theater, Phila- 
delphia, as Thomas, in "The Belle's Strata- 
gem." He traveled with Edwin Forrest as his 
principal support for some time, and went to 
California with him. Was co-manager with 
Lawrence Barrett in the opening of the Bush 
Street Theater, San Francisco, in January, 
1869. At the time of his retirement Mr. Mc- 
Cullough was suffering from a nervous dis- 
order, and his physicians ordered a complete 
rest. His health did not mend, however, and 
he died November 8, 1885. He is buried be- 
neath an elegant monument in Mt. Moriah 
Cemetery, Philadelphia. The monument repre- 
sents in bronze Mr. McCullough as Virginius. 
Lawrence Barrett began his theatrical career 
as a supernumery at the National Theater, De- 
troit, Mich., in 1852. The first speaking part 
given him was that of Murat in "The French 
Spy." He made his last appearance on the stage 
at the Broadway Theater, New York, on the 
evening of March 18, 1891, in the play of 
"Richelieu." Edwin Booth acted the Cardinal, 
and Mr. Barrett De Mauprat. When Mr. Bar- 
rett arrived at the theater that evening it was 

Driftwood of the Stage. yy 

noticed that he was ill, and although urged to 
go home, he insisted on playing. He managed 
to get as far as the end of the third act, when 
he said : '1 cannot go on." 

It was announced that Mr. Barrett was ill, 
and another member of the company would 
finish the performance. In 1886 he formed a 
professional alliance with Edwdn Booth and 
became his manager. That season each of them 
headed separate companies, but Mr. Barrett di- 
lected both tours. The following season, which 
began at Buffalo, N. Y., September 12, 1887, 
the two tragedians acted together, beginning 
with a production of "Julius Csesar." The 
combination lasted until the death of Mr. Bar- 
rett. He died at New York, March, 20, 1891, 
and four days later was laid to rest at Cohasset, 

Edwin Booth, whose first appearance on the 
stage occurred at the Boston Museum, Sep- 
tember 10, 1849, as Tressil in "Richard III.," 
brought his dramatic career to a close at the 
Academy of Music, Brooklyn, N. Y., April 4, 
1 89 1, in the character of Hamlet. He spent 
the most of his time after this at the Players' 
Club, where he had his residence. He was 
stricken with paralysis on April 19, 1893, and 

78 Driftwood of the Sta^e. 

lingered in this condition until June 7, when 
he died. His funeral took place June 9, at 
"The Little Church Around the Corner," 
Bishop Potter and the Rev. Dr. George H. 
Houghton conducting the services. 

On the morning of the funeral, The Players 
assembled at their club house, 16 Gramercy 
Park, New York, to pay the last tribute to their 
fellow-member. Many spectators had congre- 
gated in the street and all uncovered their heads 
a? the hearse passed. The funeral procession 
was led by two carriages containing the pall 
bearers. Then came the hearse and behind it 
followed the carriages of the family and 
friends. Last of all walked The Players, led 
by James Lewis, the comedian, and Judge 
Joseph F. Daly. The procession moved from 
Gramercy Park through Twenty-first Street to 
Fifth Avenue; up Fifth Avenue to Twenty- 
seventh Street; through Twenty-seventh Street 
to Madison Avenue; up Madison Avenue to 
Twenty-ninth Street, and westward on Twenty- 
ninth Street to "The Little Church Around the 
Corner." At the church gate it was met by 
Bishop Potter and his assistants. 

The casket bore this inscription : "Edwin 
Booth. Born November 13, 1833. Died June 

Driftwood of the Stage. 79 

7, 1893." A wreath of laurel tied with purple 
ribbons rested on the lid, and a wreath of laurel, 
white roses and palms was carried behind it, 
when it was borne into the church. The pall 
bearers were Joseph Jefferson, Albert M. 
Palmer, Charles P. Daly, Eastman Johnson, 
Horace Howard Furness, William Bispham 
and Thomas Bailey Aldrich. Parke Godwin had 
been named as a pall bearer, but was unable to 
attend. Many floral pieces were placed on the 
altar. After the funeral ceremony was ended 
the cortege proceeded to the Grand Central 
station, whence the body was conveyed to Bos- 
ton. On arrival of the train at Boston, still 
another numerous company . was assembled. 
There were present Harry M. Pitt, Napier 
Lothian, Jr., George W. Wilson and many 
other members of the dramatic profession, who 
escorted the body to its last resting-place. The 
grave of Mr. Booth is in Anemone Path, near 
Spruce Avenue, Mt. Auburn. He was laid 
beside his first wife, Mary Devlin. The re- 
mains of his infant son Edgar, child of his 
second wife, Mary F. McVicker, are also buried 
there. The spot is marked by a handsome 

8o Driftwood of the Stag^e. 


There is a season in the year when the worthy 
villager will retire to rest at night and in the 
morning find that mammoth spreads of canvas 
have sprung up on the green as if by magic. 
He has slept while hustling men have stolen 
into town and taken possession of it. Soon 
there is music, then a parade, and a little later 
the ticket wagon opens. The performances go 
off merrily to the music of the band and the 
crackle of peanuts. Night comes on and the 
showman and his world of wonders disappear 
as magically as they came. 

It is safe to say that all the world loves a 
cjrcus, and there is nothing in the amusement 
line that can so thoroughly stir up the individual 
or that can turn a community topsy-turvy so 
successfully. Nevertheless, in some sections of 
the country prejudice against the circus is so 
pronounced that licenses to exhibit cannot be 
obtained at all, and in some places the fee is put 
ac so high a figure as to make it absolutely 

Driftwood of the Stage. 8i 

It once occurred that New Brunswick, N. J., 
aldermen found out what it means to run 
counter to. public opinion. During the winter 
the aldermen revised the ordinances of the city 
and fixed the license fee for circuses at $250. 
People did not think much about circuses then, 
but when the good old summer time came round 
and one circus after another, after learning of 
the license fee at New Brunswick, passed 
through the town, going from Elizabeth to 
Trenton, or from Trenton to Elizabeth, the citi- 
zens awoke to the extent of the blunder that 
had been committed. 

The climax came when the Barnum and 
Bailey Circus, after billing the town, changed its 
route, and cut out the city with the $250 license 
fee. Then there was a protest, and at the meet- 
ing of the board of aldermen an ordinance was 
presented reducing the license fee from $250 to 
$125. It was passed without a dissenting vote, 
while a crowd of New Brunswickers in the 
lobby cheered wildly. 

An institution that in some cases represents 
a capital of from one to three millions of dol- 
lars, employs nearly a thousand men, 
women and children, with average daily ex- 
penses of from three to five thousand dollars, 

82 Driftwood of the Sta^e. 

which spends $i50,cxx) annually for advertis- 
ing, and can comfortably seat from eight to 
twelve thousand persons, is a great industrial 
enterprise demanding study, patronage and re- 

There is nothing in the world that makes 
money faster with success, or loses it quicker 
without it, than the circus. A bad day means 
a severe loss and a good day means the receipt 
of from five to six thousand dollars. When 
there comes a hurricane or a railway accident 
which kills ofif the animals in the menagerie, 
depletes the working stock, and perhaps rips 
many of the tents into shreds, the show must 
lay off for a time with consequent losses, until 
repairs are made and new stock purchased. 
Many a show has been almost wiped out by a 
railroad wreck, and yet in a few weeks again 
found thoroughly equipped and moving along 
filling dates as if nothing had happened. The 
reason for this quick recuperation is that all 
first-class organizations have on hand dupli- 
cates of almost everything necessary for just 
such emergencies. A hurry call will bring new 
tents, new wagons and cages to replace the 
damaged ones. Dealers who make a business 
of supplying museums and circus menageries 

Driftwood of the Stage. 83 

with animals ship a new supply from monkeys 
to elephants. 

Marvelous discipline is necessary to keep this 
little army ir\ allignment. Few have any idea 
of the skillful diplomacy necessary to keep the 
hundred performers in perfect harmony, one 
with another. 

It is when a storm occurs during a perform- 
ance that the need of strict discipline is shown. 
At the first sight of threatening clouds the men 
are quietly given their orders. There is no con- 
fusion, each one knowing just what is required 
of him. The cages of the animals are boarded 
up so that their cries will not alarm the aud- 
ience, and the elephants are led out into the 
open, as they will stampede if left confined in 
the tent. When a storm descends on the circus 
tent, it very often causes a panic, and these 
fearless men are always prepared for such an 
emergency. A couple of hundred of them will 
distribute themselves among the people to as- 
sure them of safety, and a hundred more stand 
ready to let down the side walls and clear away 
sections of seats to give as many exits as 

In such trying times much depends on the 
way the audience is handled. The darkness. 

84 Driftwood of the Sta^e. 

the howling of the storm, the roar of the water 
on the canvas, the snapping of ropes, the 
crashing of seats, the falling of paraphernalia, 
the cries of women, the howls of men and wail- 
ing of children. Add to this a picture of several 
thousand distracted people, plunging and run- 
ning, crawling and groveling, some making for 
the center, others trying in vain to reach a place 
of safety undej the seats, and one has some 
faint idea of the seething confusion that would 
happen if it were not for the coolness and firm- 
ness of those in charge. 

The employes are also expected to be ready 
to fight at a moment's notice. When a crowd 
inclines to be troublesome and gets beyond con- 
trol of the regular officers, a signal is given, and 
it is every man's duty to grab a stake or some 
handy weapon and stand by to protect the pro- 
perty of the company. The old saying that it 
sounds better to hear people say "There he 
goes" than "Here he lies" does not go with the 

Without a doubt the most appreciative aud- 
ience that ever witnessed a circus performance 
v/as the one assembled at the State's Prison, 
Jackson, Mich., in August, 1902, when John 
Robinson's Circus gave the first complete circus 

Driftwood of the Stage. 85 

performance ever presented within the walls of 
a state prison, and over eight hundred convicts 
enjoyed the program. The performers re- 
quested Warden Vincent to be allowed to give 
a portion of the regular show, and upon leave 
being granted, a ring was roped off within the 
enclosure and an exhibition lasting about an 
hour highly pleased the assembled convicts, who 
sat on the grass about the ring. John Robin- 
son himself was in charge of the unique per- 
formance, which consisted of a slack wire act, 
the regular tumbling program of the show and 
an exhibition of trained animals. The enter- 
tainment wound up with a three-round boxing 
contest between Tommy Wilson and Chin 
Fong, a Chinese boxer of the American school. 
This country has known many severe attacks 
on the circus. As a rule, these onslaughts are 
made by ruffians who have been called to order 
by those in charge for the welfare of other 
patrons. Students in the towns where colleges 
are located give much trouble, and then there is 
the bully who will try and force his way in 
without a ticket. Great care must be used in 
handling disturbers. Courteous but firm treat- 
ment is first used, and if that fails then force 
must be resorted to. The slightest incident 

86 Driftwood of the Sta^e. 

might be the cause of serious trouble, much 
damage to property and perhaps loss of life. 

The most serious attack on the circus was 
that made on the John Robinson show at Jack- 
sonville, Texas, in 1872. Thousands of dollars 
of damage was done the belongings of the com- 
pany. Many lives were lost, and the list of 
wounded ran up in the hundreds. It was long 
before the show recovered from the damage 
done to the stock, wagons and canvas, as they 
were compelled to cancel many dates until re- 
pairs were made, new stock purchased and the 
ranks filled with new recruits. 

The Wallace show while exhibiting at Mt. 
Carmel, Pa., was attacked by a party of miners 
who tried to force their way in without tickets. 
Persuasion was tried, but it seemed to be of no 
use. A force of employes prevented their en- 
trance, and the miners took out knives and 
Started to cut the canvas. The management 
saw something had to be done and done quickly. 
The whistle was blown, every employe yelled 
'*Hey, Rube!" and a fight was on. It took the 
offenders but a short time to realize that the 
company was ready at all times to protect its 

Several encounters have taken place between 

Driftwood of the Stag^e. 87 

the students and show people at Ann Arbor, 
Mich. An attack was made on the Forepaugh 
show at this place in 1882, in which many were 
injured, but the fight between the students and 
the same company a few years later was a ter- 
rible conflict, resulting not only in the destruc- 
tion of much property, but in the loss of several 
lives, and scores of wounded. The fight started 
by an usher asking two of the college boys to 
cease annoying some persons in the audience 
who had complained of their actions. Their 
defiance to the officers was followed by their 
expulsion. After the performance a large crowd 
of the students attacked the showmen, but were 
beaten back. Later they returned with rein- 
forcements, and when the tent was dropped a 
rush was made across the fallen canvas and as 
they ran poured acid, burning and practically 
ruining it. When the circus train pulled out 
they threw missiles at the cars, breaking the 
windows and injuring several performers who 
were asleep at the time. 

The Barnum and Bailey Circus, while ex- 
hibiting at Beziers, France, was the cause of a 
serious riot, in which many were injured. The 
crowd, seeking admissiqp to the performance 
was greater than the tent could accommodate, 

88 Driftwood of the Stage. 

and those who were unable to enter began ston- 
ing the circus employes, five of whom were in- 
jured. The crowd numbered about seven 
thousand. They cut the tent ropes, and several 
thousand persons forced their way to the arena. 
The police were powerless to check them. 
Troops were called out and restored order, fin- 
ally driving the rioters away, but not until 
much damage had been done to the property 
of the company. 

For many years there was an unwritten law 
prohibiting a circus from playing at Princeton, 
N. J. A few years ago Pawnee Bill's Wild 
West visited the town and the students were 
determined to break up the morning parade. 
Obstructions were placed in the streets, mis- 
siles were thrown at the riders, and insulting 
remarks made to the women. No attention 
was paid to the actions of the mob until one 
of the lady riders was struck by a stone and 
knocked from her horse. The town authori- 
ties were powerless, and st^ps were necessary 
for their own safety. The signal was given to 
turn the Indians, Rough Riders and bolo men 
loose. The company were able to reach the 
show grounds, but noj until several of the em- 
ployes were badly hurt. 

Driftwood of the Stage. 89 

Some years ago Sells Brothers' Circus visited 
New Haven, Ct. They had played the town 
the year before and were badly treated by the 
college boys. The manager was informed that 
an attempt would be made to break up the 
show, and it was arranged to give them a warm 
reception. A section of seats over a mud pud- 
dle was set aside for their use, and on entering 
they were shown to these seats by the ushers. 
The performers were instructed to pay no at- 
tention to any remarks that might be made, 
and all went well until the closing act, when 
the crowd began throwing missiles into the ring 
to scare the horses. When their actions got be- 
yond control a force of employes removed the 
supports from this section of seats and the dis- 
turbers were sent floundering in the mud. This 
was a new line of warfare, and there was no 
further trouble. 

A small traveling circus was touring the 
south and had pitched its canvas in a lively 
Kentucky town. Those were the days when 
the feudists were most active, and a movement 
ir. the direction of the hip pocket was liable to 
result disastrously. The town had one par- 
ticularly "bad man," who was said to be as 
gentle as a lamb when sober, but who was always 

90 Driftwood of the Stage. 

looking for trouble when under the influence 
of liquor, which was a greater part of the time. 
This fellow had several enemies, the ill-feeling 
having grown out of the deplorable family' 
feuds ihat have so stained the history of cer- 
tain parts of the south. He was in prime con- 
dition for "shooting up the town" circus day, 
and he thought he would go over to the scene 
of hilarity and stir up a little excitement. 

"I'll jes' go up thar an' tickle th' b'ars a bit," 
he said, as he lumbered in the direction of the 
circus grounds. 

Pretty soon the fellow swaggered up to the 
entrance and started to go in without the for- 
mality of presenting a ticket. 

"Hold on, there," said the big man at the 
entrance, "where's yer ticket, pardner ?" 

For reply the "bad man" brushed his six- 
shooter tantalizingly in front of the nose of the 
ticket man, saying, " 'Tain't what you want 
that does ye good ; it's what ye git — see !" 

Needless to say, he passed into the circus 
without a ticket. He still had his gun in full 
display when he rolled into the grounds. There 
were several of his enemies present, and when 
they saw him with his gun out there was 
promiscuous firing. Of course, there was an 

Driftwood of the Sta^e. 91 

instant panic within the tent. The rush for 
cover brought down a section of seats, and 
during the excitement many women fainted. 

To add to the terror of the occasion some 
of the performing animals broke from the ring 
and ran away. One of the lady riders lost her 
head completely, and ran helter-skelter into the 
middle of the river that bordered on the circus 
grounds. She was up to her neck in the water 
when the excitement subsided, and it was with 
some difficulty that she could be persuaded to 
come ashore. The count-up revealed no fatali- 
ties, but it was a bad day for that circus. 

92 Driftzvood of the Staf^e. 


Actors have more superstitions than any 
other class of people. Usually they attach the 
utmost importance to them, and circumstances 
often arise by which they are made pitifully 
unhappy by reason of some impending calamity 
which has been brought about by an inoppor- 
tune meeting with a cross-eyed man, for in- 
stance. The really intelligent men and women 
of the profession seem to be as hopelessly tarred 
v/ith the stick of superstition as the humblest 
of the lot. Here are a few superstitions that 
are not generally known to outsiders. 

Whistling by one member of a company in 
the dressing room of another is a sure sign that 
the company will close its season suddenly. 
Coming to the first rehearsal letter perfect in 
a part is proof eterne that you will stick in your 
lines at the opening performance. 

An actor will not walk under a ladder at any 
time, and will go a long distance out of his 
way to avoid doing so. Humming or singing 
at the table is considered more of a sign of bad 


Driftwood of the Stage. 93 

luck than a lack of good manners. Green 
paper, green tickets, or green ink used in the 
printing is always looked upon with suspicion. 
Nothing will scatter a party of actors quicker 
than a load of empty barrels coming towards 

The wagon show has a superstition entirely 
its own. If they should pass a cemetery on 
their entrance into a town, it means much to 
them, and will say: "Graveyard to the right; 
good house to-night !" Suspicion of bad business 
follows if situated on the left of the road. 

Another popular superstition is that a rope- 
bound trunk is a sure Jonah, and a rope-bound 
trunk will not be tolerated by the majestic 
persons that handle the baggage. A round- 
top trunk is believed to be one of the biggest 
Jonahs in the business. Actors will never pass 
each other on a stairway if it can be avoided. 
The one who has made the most progress going 
up or down is given the right of way. The 
other will step back. 

Certain things which are all right during 
a regular performance must not be done at 
rehearsal, such as speaking the "tag" or last line 
of the play. To whistle in the dressing room 
means that the man nearest the door will be 

94 Driftwood of the Sta^e. 

sure to get his two weeks' notice. If the figure 
3 is seen on a locomotive the actor should turn 
his back to it. Never look through a broken^ 
mirror. Never twirl a chair about on one of 
its legs on the stage. Do not return to your 
dressing room if anything has been forgotten. 
Never quote "Macbeth" in the dressing room. 

It is considered unlucky to leave a hat on 
the bed. It must be removed and hanged else- 
where before it is worn, and must not be 
touched until another hat is on the wearer^s 
head. A terrible calamity is supposed to be the 
fate of any person who would put a pair of 
shoes on a bed, even if they were in the original 

Nothing will so stir up an opera company 
as to ascertain that there is a corpse in the 
^^gg^g^e car of the train on which they are 
traveling. With the circus it is considered 
good luck to have a hunchback with the com- 
pany. It is considered unlucky to have two of 
them in the same company. A company of 
thirteen members means that three of them will 
be changed before the season ends. Raising 
an umbrella in a play is a sure sign that all 
holiday business and special performances for 
that season will be disastrously affected by rain. 

Driftwood of the Stag^e. 95 

The member of a company that carries a leather 
hat box is looked upon as a trouble breeder. 

The first ticket taken at the door must be a 
paid one. No complimentary ticket will be ac- 
cepted, some excepting a hunchback or a negro, 
until one that has been purchased is in the 
ticket box. The yellow clarionet is an instrument 
prohibited by the theatrical world, and no actor 
would dare to bring a yellow dog to the theater. 
Some hail with delight the serving of stewed 
prunes for supper, their presence assuring a 
full house that night. Others claim stewed 
prunes means bad business. When an actor 
accepts a dish of stewed prunes all must be 
eaten, if not, bad business will be attributed to 

The actor will refuse room thirteen, and 
hotels, as a rule, have done away with this 
number. To open on a Friday is considered 
a bad omen. Should a cat wander on the stage 
during the first rehearsal it is a sign of success. 
If it happens to be a black one, it is petted, fed 
and encouraged to stay around the place while 
rehearsals are in progress. If a company 
should meet a load of hay while on parade, it 
means good business in that town. If a funeral 
is seen coming toward them the parade is 

g6 Driftwood of the Sta^e. 

turned up a side street or an alley to avoid 
meeting. If this cannot be done, the parade 
is dismissed, the members separating and re- 
forming when the cortege is passed. The song 
"Marriage Bells" is considered a Jonah by 
nearly the entire profession. It has been shown 
that almost every person who used or sang this 
song had a sad ending. 

Actors have been known to avoid companies 
that carried three women. A gentleman en- 
gaged ior leading business handed in his part 
at the first rehearsal. The manager asked an 
explanation, and was told by the actor that a 
pleasant season could not be looked for in a 
company in which were three women. There 
was always trouble, for two of the women were 
sure to get together and talk about the other 



During the last few years a number of new 
words and expressions have been coined and 
added to the bulky dictionary of slang in use 
in the amusement world. 

There are technical terms applied to the 
mechanics and the paraphernalia of the theater, 
but these are not slang properly, more than are 
the names for tools that pass current in any 

Driftwood of the Sta^e. 97 

trade in which they are used. It may be inter- 
esting to know, however, that stage hands are 
divided into classes, there being ''grips," 
* props" and ''clearers." There are queer but 
meaningfull names for every implement used 
in a playhouse, for the scenery and furniture, 
for the electric lights in certain positions, for 
particular dressing rooms, for the galleries from 
which the "drops" are raised and lowered, for 
the members of the orchestra, and for every 
other conceivable thing under the sun. 

To those in professional life a successful pro- 
duction is a ''hit," and a failure is a "frost." 
In referring to good business it is said "Wc 
stood 'em up," and being denied professional 
courtesies by a manager is called "turned 
down." Schools of acting are called "found- 
ries" by those who have entered the profession 
by other routes, and graduates of such schools 
are called "castings." 

The town in which the initial performance 
of a play is given is called "the dog." The ex- 
pression "trying it on the dog" means the 
selection of a nearby one-night stand where the 
play can be properly put on and its imperfec- 
tions noted. An outsider who backs a show 

is an "angel," the smaller cities are "tanks" or 


98 Driftwood of the Sta^e. 

"jay towns," and the manager of a country 
opera house is always addressed as ''Frohman." 
A complimentary ticket is a "fake," and the 
deadheads in the house are known as "skulls." 
Members of the chorus are "the bunch," and 
those of the company who do not have speak- 
ing parts are referred to as "on with others." 

A monologue is a "string of talk," and some- 
times is called "junk." Theatergoers who do 
not enthuse over an offering are a "cold aud- 
ience," and to reflect on the intelligence of an 
audience they say "it went over their heads." 
Anything used on the stage that appeals to the 
patriotism or local pride of an audience is called 
a "give us your kind applause." The principal 
street in a one-night stand is known as the "main 
stem." Colored actors are called "dingies." 
Those who play Irish parts are "harps," farmer 
characters are designated as "Rubes," and a 
Hebrew impersonator is a "goose" or a "Yid." 

A tall silk hat is a "Hi Henry" and also an 
"11:45." I'he latter expression is derived 
from the fact that this is the hour the minstrels 
don their silk headgear and report for parade. 
If the hat is raised for a salutation it is called 
a "high sign." An evening dress suit is called 
a "soup and fish" and a discordant note is a 

Driftwood of the Stage. '99 

"barber shop." Suggestive lines are "ginger," 
and the old time minstrel jokes are "oakum" or 
"gravy." The callow youth who is inclined to 
haunt the stage door is a "Johnny," and those 
who travel with a company and are not con- 
nected with it are termed "excess baggage." 

An actor who has lost his popularity is a "has 
been" and one who has a tendency to overrate 
his abiHty is "chesty." Those who are not 
considered up to the standard are liable to be 
called a "shine," and an unpopular member of 
a company is generally referred to as a "heel." 
The term "gold brick" is sometimes applied to 
those who draw more salary than they deserve. 
Those who submit to be ruled by their wives 
are called "Barnaby," and are spoken of as 
having to "jump through." This expression 
refers to the manner in which trained animals 
are compelled to jump through hoops and other 
objects at the command of the master. A 
person who suffers for the faults or misdeeds 
of others is called a "Patsy" or a "Bolivar." 

0*ne who is disposed to say unkind things 
about a fellow actor is a "knocker," and a well 
liked member of a company is an "ace." Money 
is called "cush" and an intoxicated person is 
described as having a "bun." One inclined to 

loo Driftzvood of the Stage, 

hi. attentive to the ladies is a ''Romeo," and to 
be jilted is ''thrown down." To say they are 
going to do a "Rip Van Winkle" or a "Joe 
Jefferson" is a declaration to have a good long 

J}J sj« :i« ^ sj« ^ 

Circus people talk a jargon that would be 
unintelligible to the uninitiated. To those in 
circus life the manager or the head Of any en- 
terprise is always the "main guy," while those 
in subordinate positions are simply "guys." 
The tents are called "tops" by circus men, and 
they are subdivided into the "big top," the 
"animal top," the "kid top," the "candy top," 
and so on. The side show where the Circassian 
girls, fat women and other curiosities known 
as "freaks" are shown, is termed the "kid 
show," and the man with the persuasive voice 
who seeks to entice people to enter is known as 
a "barker" or a "spieler." What he is telling 
his listeners is called a "bally-hoo." 

The men who sell peanuts, red lemonade, 
palm leaf fans and concert tickets, are known 
as "butchers," while that class of circus fol- 
lowers whose methods are outside of the pale 
of the law are "guns" or "grafters." To get a 
person's money without giving an equivalent 

Driftwood of the St(^e! \\ ,,:jLQi,, , , • . 

L. - _^_4_.l |> Uv^ ;\; \ A 

is to "turn them." A countryman is either a 
**Rube" or a 'V^P-" I'he musicians with a 
circus are known as "wind jammers," the train- 
men, canvasmen and other laborers are "razor- 
backs." The distance from one town to an- 
other is always known as a "jump." The show 
ground is called the "lot," and the dining tent 
where the circus people get their meals is the 

An acrobat is known as a "kinker," and all 
things that are used in the ring, such as banners, 
hoops and the like, are called "objects." Those 
who lie on their backs and juggle children on 
their feet are "Risleys," and if other objects are 
balanced on the feet they are "barrel kickers." 
Missing an attempted feat is called "blowing 
the trick." Of a discharged person they say 
he was "canned." Money is referred to as 
*'coin" or "dough," and the one who pays the 
salaries is either the "ghost" or the "man in 
white." A trunk is called a "keester," and a 
valise is a "turkey." To get away quick is to 
do a "vamp," and of those who are forced to 
leave they say "got the hurry." 

Those who have been long in the business 
are "old landmarks," and a new addition to the 
profession is either a "butt in" or a "Johnny 

,r, wip^,,. , '^Driftwood of the Stage. 

Newcomer." Food is called "chuck," and they 
say an intoxicated person is "soused." A fight 
is a "scrap," but any trouble that cannot be 
handled by the regular officers is a "mix-up," 
and a whistle is blown, at the sound of which 
each employe grabs a stake or other handy wea- 
pon and yells "Hey, Rube!' which is the call to 

A proposed victim is known as a "sucker" 
to the confidence men who follow the circus, 
and "fanning a guy" is to make sure he has no 
weapons on him before they proceed to get his 
money. To "frisk" a train is to arm a lot of 
husky employes with stakes and search the cars 
for "crooks" and "sure thing" men. There is 
no chance for argument at this time. If you 
see one of these worthies leaving in a hurry and 
ask him where he is bound, he will generally say : 
"To the tall and uncut." 

Driftwood of the Stage. 103 


The burial place of the Booth family is in 
Greenmount Cemetery, Baltimore, Md. The 
spot is marked by a shaft of white marble that 
is covered with thick, clustering ivy. Junius 
Brutus Booth and his wife (Edwin's parents), 
John Wilkes Booth, Asia Booth (Mrs. John 
«S. Clarke), and other members of the family 
are buried in this plot. The graves .of John 
E. Owens and Walter L. Sinn are in this ceme- 
tery, and not far distant. Colonel John A. Mc- 
Caull is at rest in Bonnie Brae Cemetery at the 
same city. 

In Mt. Moriah Cemetery, Philadelphia, in 
the Actors' Order of Friendship lot, Edwin 
Adams rests beneath a small granite monument. 
Frank Mayo, Edwin F. Mayo, and George S. 
Knight are interred in the beautiful Laurel Hill 
Cemetery, and Harry Murdoch, whose life 
went out so sadly in the terrible Brooklyn 
Theater fire, is buried in Woodlands Cemetery 
at the same city. 

Sol Smith Russell is buried in Rock Creek 

I04 Driftwood of the Stage. 

Cemetery, Washington, D. C, and James E. 
Murdoch at Cincinnati. Frederick Bryton, 
Harry Eytinge and George W. Thompson were 
laid to rest in Greenwood Cemetery, Brooklyn, 
N. Y., and Edward Eddy, long a metropolitan 
favorite, lies in a vault in St. Ann's Church- 
yard, New York, where he has lain neglected 
and forgotten for many years. Milnes Levick 
is buried in the same churchyard. 

In St. Paul's Churchyard, New York, is a 
monument erected to the memory of George 
Frederick Cooke, on which these words are eq,- 
graved : "Three kingdoms claim his birth; both 
hemispheres pronounce his worth." Mr. Cooke, 
who was the first star to appear in this country, 
died far from home, September 26, 18 12. 
Edmund Kean, while playing in this country 
in 1 82 1, erected the pillar that still marks the 
spot. At different times the monument has 
been repaired. In 1846 Charles Kean, who 
had come to this country to act, repaired the 
structure his father had erected. Edward A. 
Sothern repaired it in 1874, and in 1890 Edwin 
Booth again put it in repair. 

William Warren is at rest in Mt. Auburn 
Cemetery, Boston; Mark Smith, Bellefontaine 
Cemetery, St. Louis: James H. Love, Holy 

Driftzvood of the Stage. 105 

Cross Cemetery, San Francisco, Cal. ; Edwin 
Clifford, Oshkosh, Wis.; W. J. Chappelle, 
Great Bend, Pa.; Harry Mainhall, Los An- 
geles, Cal.; Thomas Evans, Youngstown, 
Ohio; Frank Martin, Milwaukee, Wis.; and 
Alden Bass, Williamston, Vt. 

Thomas W. Davey, who was the first man- 
ager that Lawrence Barrett had as a star, and 
who was one of the pioneer managers of the 
west, lies buried in the little churchyard at 
Sandwich, Ont. A few of the old guard who 
accompanied him on that bleak last journey, on 
one of the coldest days within the memory of 
living men, in December, 1879, still cherish his 
memory and comfort themselves wath the 
knowledge that in this case, at least, the good 
that men do is not interred with their bones. 
John Ellsler, the veteran actor and manager, 
was laid to rest in Lakeview Cemetery, Cleve- 
land, Ohio. 

John Gilbert, after sixty years' service on 
the stage, was laid to rest in Forest Hill Ceme- 
tery, Boston. Charles Fechter, the great 
French tragedian, passed his last days at his 
farm at Rockland Center, Bucks County, Pa., 
where he died August 5, 1879. His remains 
are interred in Mount Vernon Cemetery, Phila- 

io6 Driftwood of the Stage. 

delphia, and over the grave is a monument bear- 
ing a bust of Mr. Fechter, with this inscription : 
"Genius has taken its flight to God." Charles 
Fisher is buried in Woodlawn Cemetery, New 
York, and George W. Jamieson was laid to 
rest in a little cemetery back of Yonkers, N. 
Y. Charles A. Garwood is buried at Atlanta, 

Artemus Ward died at Southampton, Eng- 
land. His remains were brought to America 
and interred at Waterford, Maine. Stephen 
C. Foster, who gave to the world "Old Folks 
at Home," "Old Black Joe," and many other 
minstrel melodies, is at rest at Pittsburg, Pa., 
and a handsome monument marks his grave. 
The grave of Bill Nye, humorist, is in the 
graveyard of a country church near Fletcher^ 
N. C, thirteen miles from Asheville. 

The monument to Shakespeare in Central 
Park, New York, was dedicated May 23, 1872. 
The ceremonies began at three o'clock in the 
afternoon, with Berlitz's overture, "King 
Lear," rendered by an orchestra of one hun- 
dred musicians. Chief Justice Daly made the 
opening address and presented the statue to the 
Park Commissioners. The statue was then un- 
veiled by J. Q. A. Ward, the sculptor, and J. 

Driftwood of the Stage. 107 

Wray Mould, the architect of the pedestal. The 
Arion Society, under the leadership of Dr. 
Leopold Damrosch, sang Schiller's "Invocation 
to the Artists — An die Runster." The Hon. 
Henry G. Stebbins, President of the Depart- 
ment of Parks, accepted the monument for the 
city. Two musical numbers by the orchestra 
and the Arion Society followed, after which 
William Cullen Bryant delivered the oration of 
the day. The orchestra again rendered an over- 
ture, and Edwin Booth recited R. H. Stod- 
dard's poem, ''Shakespeare." The ceremonies 
closed with an overture from Schumann, en- 
titled "Julius Caesar." 

At the Metropolitan Museum of Art, New 
York, is a memorial to Edgar Allen Poe, pre- 
sented by the actors of New York and vicinity. 
The dedication of this memorial took place 
May 4, 1885. At Prospect Park, Brooklyn, 
N. Y., is a bronze bust of John Howard Payne, 
placed there by the theatrical fraternity. Mr. 
Payne died at Tunis in 1852, an exile from 
home. Thirty years later his remains were 
brought to this country and laid finally in Oak 
Hill Cemetery, Washington, D. C. A neat 
monument over a grave in Monument Ceme- 
tery, Philadelphia, bears this simple inscription: 

io8 Driftwood of the Stage. 

*'In memory of the Author of 'Metamora/ by 
his friend, Edwin Forrest." 

I^ester Wallack, Roland Reed, Henry C. 
Miner, and William F. Hoey are buried in 
Woodlawn Cemetery, New York. William A. 
Mestayer and Joseph Ott sleep side by side in 
Calvary Cemetery, Brooklyn, N. Y. William 
J. Scanlon, William J. Florence and other 
famous players are buried in this same ceme- 
tery. A. H. Chamberlyn was laid to rest in 
Holywood Cemetery, Brookline, Mass. Wil- 
liam Paull, in Bellefontaine Cemetery, St. 
Louis, Mo. ; George Milbank, Mt. Hope Ceme- 
tery, Boston; and Napier Lothian, Jr., Forest 
Hill Cemetery at the same city. 

P. T. Barnum is buried at Bridgeport, Conn., 
and a bronze statue of the famous showman 
adorns one of that city's public parks. Adam 
Forepaugh is buried in West Laurel Hill 
Cemetery, Philadelphia. The remains of Frank 
Queen, founder of the New York Clipper, were 
interred in Ebenezer Church Cemetery, Phila- 
delphia, the gate of which opened into his own 
garden. Ten years later they were removed 
to Eglington Cemetery, Clarksboro, Gloucester 
County, N. J. The simple monument that 
marks his resting-place bears the inscription: 

Driftwood of the Stage. 109 

"Called from a life of usefulness. Leaving us 
to mourn and wonder — Why?" 

George Jones, better known as the Count 
Joannes, an actor who was not appreciated as 
he deserved, was laid to rest in Maple Grove 
Cemetery, Long Island. Jacob W. Thoman, 
who was the original Lone Fisherman in 
''E,vangeline," died at the Forrest Home, where 
he had been a guest for several years. His 
body was cremated and the ashes interred in the 
Forrest Home plot in North Cedar Hill Ceme- 
tery, Holmesburg, Pa. 

In recognition of his brilliant record as a 
soldier Daniel H. Harkins was given a military 
burial in the Presidio National Cemetery, San 
Francisco, Cal., and Charles O. White, well 
known as a manager, was laid to rest at Alex- 
andria, Va., among those with whom he had 
fought in the ranks of the Confederacy. George 
L. and Charles K. Fox, who were considered 
the best of actors and pantomimists in their 
time, are buried in Mt. Auburn Cemetery, Bos- 
ton; Charles H. Hoyt at Charlestown, N. H.; 
Jerome Sykes, St. James, Long Island; Arthur 
Sidman, Tully, N. Y. ; and John Stromberg, 
Woonsocket, R. I. 

In the Rural Cemetery at Albany, N. Y., are 

no Driftwood of the Stage. 

the graves of Felix Morris and J. K. Emmett. 
The body of Louis Aldrich was cremated, and 
so was that of Edwin F. Knowles. The ashes 
of the latter are buried at the city of his birth, 
Hamlet, R. I. Odell Williams is buried at 
Mechanicsburg, Ohio; Bartley Campbell and 
Charles L. Davis, Pittsburg, Pa.; John W. 
Norton, St. Louis, Mo.; Stuart Robson, Co- 
hasset, Mass.; T. Grattan Riggs and William 
E. Sheridan, in far ofif Australia, and Edward 
A. Sothern at Southampton, England. Bret 
Harte sleeps in Frimley Churchyard, Surrey, 

William T. Hall, who was widely known 
among members of the theatrical profession as 
"Biff" Hall, and for many years the Chicago 
correspondent of the New York Dramatic Mir- 
ror, was laid to rest in Rose Hill Cemetery, 
Chicago; James Lewis is buried at Brooklyn, 
N. Y. ; George H. Emerick, St. Catherines, 
Ont. ; and Aiden Benedict, Decorah, Iowa. 

Probably the most popular of all the border 
characters that were introduced to the stage in 
days gone by was John B. Omohundro, better 
known as Texas Jack. He was a protege of 
Buffalo Bill, and dressed much after the style 
of that gentleman. His pleasant personality 

Maudk Adams. 

Driftwood of the Stage. iii 

won him hosts of friends. Handsome of face 
and a disposition as sunny as a child's, he was 
just the opposite of what one would expect of 
a frontiersman. He was one of the most 
skilled Indian fighters that ever blazed a trail 
through the wilderness, and one of the first 
v/hite men to penetrate Yellowstone Park. 

Texas Jack was taken up by the Papyrus 
Club of Boston, on a trip east in the early days, 
and was made much of at the Hub. His pic- 
turesque frontier regalia as he walked the streets 
of Boston attracted no little attention, and the 
frontiersman liked the notoriety so much that 
he remained for some time in Boston, becoming 
a local celebrity. In 1873 he was married to 
Mile. Morlacchi, the premier danceuse. Pul- 
monary troubles carried off this gentle char- 
acter, and his grave, near Leadville, Col., which 
at certain seasons of the year is covered with 
wild flowers, is often visited by members of 
the profession w^ho knew and admired him. He 
died June 28, 1880. 

Henry Wannemacher, the well known or- 
chestra leader, is buried in Arlington Cemetery, 
Philadelphia; William H. Power and William 
H. Power, Jr., are at rest in Mt. Elliott Ceme- 
tery, Detroit, Mich.; John Wild, for thirty 

112 Driftwood of the Stage. 

years a Broadway favorite, is buried in Ever- 
green Cemetery, Brooklyn, N. Y. Qn his 
monument are inscribed these words: "Think 
what the best of husbands and fathers should 
be. He was that!" Not far distant in the 
same cemetery is the grave of Pat Rooney, the 
greatest Irish comedian of his day. 

William Emmett, a prominent manager, is 
buried in Rose Hill Cemetery, Chicago. John 
L. Ashton and James H. Kelly, in the Elks' 
Rest, Woodmere Cemetery, Detroit, Mich. 

Of the departed who followed the vaudeville 
and minstrel branch of the profession, William 
H. West, Billy Barry and Louis C. Behman 
peacefully sleep in Greenwood Cemetery, 
Brooklyn, N. Y. Harry Kernell and J. W. 
Kelly, at Philadelphia; John Kernell, at Brook- 
lyn, N. Y., and Tony Hart, at Worcester, Mass. 
George Guy, for many years a minstrel singer 
and manager, is buried at Springfield, Mass. 
The pall was borne by his six sons, all of whom 
were identified with the minstrel line. J. H. 
Haverly sleeps in a Jewish burying ground at 
Philadelphia, and Billy Lester in a Jewish 
cemetery at Brooklyn, N. Y. 

Billy Emerson was laid to rest at San Fran- 
cisco, Cal. ; Billy Rice, Hot Springs, Ark.; Jim 

Driftwood of the Stage. 113 

Sanford, Cohoes, N. Y. ; John Jennings, Erie, 
Pa. ; Billy Manning, Piqua, Ohio ; Dave Wam- 
bold, Newark, N. J.; Ben Cotton, Jr., Bristol, 
R. I.; W. T. Bryant, Dayton, Ohio; Will 
Irvini, Racine, Wis.; Bob Slavin, Baltimore, 
Md. ; Danger Norton, Detroit, Mich.; Ed. 
Banker, Toledo, Ohio; John B. Donniker, 
Penn Yan, N. Y.; William Gilbert, San Fran- 
cisco, Cal., and Louis Martinetti, Fall River, 

J. W. McAndrews, Emil Ames and John 
Rice are buried in the Elks' Rest, Mt. Green- 
wood Cemetery, Chicago; Nelse Seymour, Lit- 
tle Mac and Dody Pastor, in Evergreen Ceme- 
tery, Brooklyn, N. Y. ; Harry Dryden, River- 
side Cemetery, Towanda, Pa.; Sam T. Jack, 
Oil City, Pa., and Tom Miaco, Medina, N. Y. 

Charles A. Vivian, an English comic singer 
and one of the founders of the Order of Elks, 
for many years lay in a neglected grave at 
Leadville, Col., but Boston Lodge of Elks had 
his remains transferred to the Elks' Rest, in 
Mt. Hope Cemetery, at that city, where they 
now lie. Charlie Reed is buried in the same 

Charles Gilday died and was buried at sea. 
They placed a mound and headstone for him 

114 Driftwood of the Stage. 

in the Elks' Rest, in Mt. Moriah Cemetery, 
Philadelphia, beside the grave of Bobby New- 
comb, who died about the same time. A few 
feet away, in the same plot, are the remains of 
Frank Moran. Frank Ramza died at Atlanta, 
Ga., while traveling with George Wilson's 
Minstrels. His home was at Birmingham, 
England. ' They laid him away in the Elks' 
Rest at Birmingham, Ala. James Wheeler was 
the first to be interred in the beautiful Elks' 
Rest in Lakewood Cemetery, Minneapolis, 

The beautiful cemetery of the Eivergreens at 
Brooklyn, N. Y., may well be called the city of 
theatrical dead, for here, in addition to the 
many private plots owned by professionals, are 
the plots of the Elks and the Actors' Fund of 
America. In this cemetery are the graves of 
more than one thousand stage folks. The 
burial plot of the Actors' Fund of America is 
no feet wide and 220 feet long, and in the 
center of it stands a handsome monument 
erected at a cost of $5,000. The dedication of 
this place of rest occurred in June, 1887, Edwin 
Booth making an address on the occasion. 
George Zebold has the distinction of being the 
first to be interred in this plot, and at the pre- 

Driftwood of the Stag^e. 115 

sent time there are about five hundred laid away 
in this peaceful place. Among those that are 
buried there may be mentioned such well known 
names as Charles W. Couldock, Charles T. 
Parsloe, Diego de Vivo, Harry Watkins, Ben- 
jamin G. Rogers, Lysander Thompson, H. B. 
Phillips, Edward Coleman, Harry M. Pitt and 
Edouard Remenyi. 
Peace be with them! 

ii6 Driftwood of the Stage. 


On the southeast corner of Twenty-third 
Street and Sixth Avenue, New York, once 
stood Booth's Theater. The work on this 
theater was begun July i, 1867, and the labor 
was pushed with such energy that by April 8, 
1868, all was in readiness for the laying of the 
corner stone. The day selected for the cere- 
mony was a stormy one and but few persons 
were present to take part in the dedication. 
James H. Hackett performed the official acts 
and delivered an address. Then with masonic 
observances the corner stone was lowered into 
its place. 

The building was of granite. The main en- 
trance was on Twenty-third Street, but there 
was another entrance on Sixth Avenue. The 
house would comfortably hold two thousand 
persons, and from every part of the theater the 
stage could be distinctly seen. It was finished 
in January, 1869, and opened to the public on 
the night of February 3 of the same year. The 
play was "Romeo and Juliet." Edwin Booth 

Driftwood of the Stage. 117 

was the Romeo, and Mary F. McVicker played 
Juliet. Every part of the new theater was 
crowded with a brilliant audience to witness 
the opening of what was then the handsomest 
theater in New York. The theater did not 
close at all during the first summer of its exist- 
ence. The season that began February 3, 1869, 
did not end until July 4, 1871. 

The following season it was opened with 
Lotta, and then Charlotte Cushman returned to 
the stage, after ten years of retirement, as 
Queen Katharine in "Henry the Eighth." It 
was on Christmas night of the same year that 
Edwin Booth gave his grand production of 
"Julius Caesar," in which at different times he 
acted Brutus, Cassius and Antony, and in which 
Lawrence Barrett gained lasting fame as Cas- 
sius. That revival of the great Roman play 
was one of the most imposing spectacles of the 
modern stage and was repeated eighty-five 

In 1874 the theater passed out of Mr. 
Booth's hands. After his withdrawal it was 
leased by Junius Brutus Booth, Jarrett and 
Palmer and others, and many efforts, mostly 
in vain, were made to establish it in public 
favor. Jarrett and Palmer managed the house 

ii8 Driftwood of the Stage. 

from May, 1874, until April, 1877, and during 
their reign many stars appeared and many pro- 
ductions were made. It was under this man- 
agement that the following magnificent pro- 
ductions were given: "Henry V.," February 
8, 1875; the revival of "J^^i^s Csesar," with 
the addition of a funeral fire scene originally 
devised for the conclusion of ''Coriolanus," 
December 2"/, 1875; "Sardanapalus," August 
14, 1876, and "King Lear," with Lawrence 
Barrett as Lear, December 4, 1876. 

It was at this theater that Henry E. Abbey 
determined to present a Passion Play which 
had been written and produced under the 
supervision of Salmi Morse, in one of the 
theaters at San Francisco, where it ran to 
packed houses for several weeks, but was 
ordered withdrawn by the authorities. Mr. 
Abbey began to make elaborate preparations 
for the production. James O'Neill, who had 
personated the Saviour in the California pro- 
duction, was secured for his original part. A 
large company of prominent players was en- 
gaged, rehearsals began, and the theater re- 
christened Booth's Tabernacle. 
. Public opinion was against the Passion Play 
from the start. The pulpit, the press, as well 

Driftwood of the Stag^e. 1 19 

as leading members of the dramatic profession 
protested against the enterprise. Petitions 
signed by thousands were presented to the 
authorities to prevent the performance, and 
dead Jetter laws against blasphemy were 
brought to light. There were rumors of a 
riotous demonstration as the date of the first 
representation drew near, and Mr. Abbey pub- 
lished a card, in which he yielded to popular 
sentiment and abandoned his plans. 

Salmi Morse, enraged at the success of the 
opposition, took the old Fifth Regiment armory 
on West Twenty-third Street, transformed it 
into a theater, engaged a company of amateurs 
and advertised the performance. The police 
interfered and prevented the sale of tickets. 
Soon after his lifeless body was found in the 
Hudson River. 

The theater was finally closed, April 30, 
1883, with a performance of "Romeo and 
Juliet," the same piece with which it had been 
opened fourteen years before. Mme. Mod- 
jeska acted Juliet. A little later the house was 
demolished, and its site given over to mercan- 
tile purposes. 

5j« ^ H< Hs >!< Hs 

After a career of sixty- two years, the history 

120 Driftwood of the Stage. 

of the Boston Museum as a playhouse came to 
an end on the night of June i, 1903. It was 
the most celebrated, though not the oldest, 
theater in America. The latter distinction be- 
longs to the Walnut Street Theater at Phila- 
delphia, which in part is over 100 years old. 
But the Boston Museum held all the theatrical 
traditions that were sacred to the city of cul- 
ture. It was in the early days the home of 
all our great actors. Edwin Forrest always 
played there, as did the elder Booth. 

For many years it was principally celebrated 
for the fairy pieces produced there every Christ- 
mas. "Uncle Tom's Cabin" was first brought 
out in 1853, and had the longest run the theater 
had yet known. 

One peculiar characteristic of the Boston 
Museum was its name. It was originally so 
called because the word theater had a bad smell 
in the nostrils of the good New England folks. 
To carry out the illusion there was a large hall 
in the building just fronting the entrance to 
the auditorium proper, and in this was a col- 
lection of plaster statuary — Daniel Webster, 
Henry Clay, Andrew Jackson, the Laocoon 
group — about a dozen pieces. 

The ancient temple of the drama never con- 

Driftwood of the Stage. 121 

tained a larger or more fashionable audience 
than greeted the members of Charles Froh- 
man's Empire Stock Company that night when 
the curtain rose on "Mrs. Dane's Defense/' 
which through the kindness of Charles Froh- 
man, Isaac B. Rich and William Harris, was 
presented in aid of the Vincent Memorial 

The audience for the most part was made 
up of old Bostonians who had been patrons of 
the house ever since the days of the old stock 
company, and came out to get a last look at 
the theater where Mrs. Vincent, Annie Clarke, 
William Warren and a host of other famous 
actors and actresses had entertained the public 
and to carry away some sort of a souvenir from 
the old playhouse. Up to the time the curtain 
went down at the close of the fourth act a 
casual observer would never have known that 
the performance was to be the last in one of 
America's most famous playhouses. But fol- 
lowing the curtain came the formal closing of 
the house. The entire Empire Theater Com- 
pany came on the stage and Margaret Anglin 
read a poem by Dexter Smith. 

The poem was reminiscent and historical, be- 
ginning with the Museum's early days and 

122 Driftwood of the Stage. 

bringing it down to the present. Name after 
name — Moses Kimball, Kate Reignolds, Annie 
Clarke, Mrs. Vincent, William Warren, 
Charles Barron, George W. Wilson, and a host 
of others who have played or been associated 
with the management of the Museum, were 
mentioned by Miss Anglin in clever verse, and 
applause greeted each. The poem was followed 
by a farewell address delivered by William 
Seymour, for many years stage manager during 
the stock company days. In his address Mr. 
Seymour traced the career of the theater from 
the time it was established by Moses Kimball 
in 1 84 1 down to the time it passed into the 
control of Charles Frohman, and concluded his 
address as follows : 

"In the fleeting world, we know, all partings 
bring regret, but mingled here with ours is 
some cheer, too, since while we live, the good 
example of this theater can never be quite for- 
gotten. As age advances, the best of life is 
its cluster of old associations, and these here 
rise so thick and fast around us, that some, at 
least, should prove imperishable. I can wish 
no better fate to those dear old times and to 
you all. But I would have the last words 
spoken upon this stage not mine, nor those of 

Driftwood of the Stage. 123 

any common mortal. Let Shakespeare's be the 
last! And so, in the words of Hamlet: 'I be- 
seech you, remember.' " 

At the conclusion of the address the orches- 
tra played "Auld Lano^ Syne" and the audience 
and company rose and sang the old song with 
a will. Then the people passed out into the 
old curiosity hall, where the orchestra played 
songs of the old days. Until long after mid- 
night the people lingered in the old hall, many 
of them taking away souvenirs, while on the 
outside a vast concourse of people were wedged 
into Tremont Street listening to the music and 
v;aiting to see the Museum close for the last 

Shortly after 12 130 o'clock the colored porter 
closed the doors and locked the iron gates, and 
the historical old playhouse was a thing of the 


* * * H« * * 

A great lover of art, and particularly of 

music and the drama, the Jenny Lind concerts 

in the early fifties suggested to Samuel N. Pike 

the erection of a temple that should be so grand 

that the world would recognize Cincinnati in 

the arts, and with it his name. Mr. Pike was 

alert in business, and originator of, for his time, 

124 Driftzvood of the Sta^e. 

gfreat ventures. At the same time he was 
debonair, chum of poet, painter, actor, singer, 
soldier. In the same day or week, it seemed, 
his mind would be devoted to wholesaling 
whiskey, erecting magnificent opera houses at 
Cincinnati and New York, and in playing the 
flute at a benefit or dreaming over his poems. 

On the night of March 22, 1866, occurred 
the calamity that wiped out that gem in the 
Queen City's coronet, the first Pike's C)|)era 
House. "A Midsummer Night's Dream" was 
the play that fateful night. The most gor- 
geously beautiful of Shakespeare's matchless 
conceptions, garbed in all the magnificence of 
scenic effects and spectacular display, was be- 
fore the large audience, which thronged par- 
quette, dress circle and balcony of the superb 
auditorium. All was animation and pleasure. 
Thousands of eyes gazed with astonished sur- 
prise upon the scenes of fairy land into which 
the immense stage had been transformed; upon 
the silvery waters of moonlit lakes, in dells 
where fairy sprites, the Queen with all her 
elves, were reveling; upon the magnificence of 
Duke Theseus' s court and retinue, and finally 
upon that most gorgeous of all closing and 
transformation scenes. 

Driftivood of the Sia^e. 125 

The hard-handed men of Athens had disap- 
peared, proud Titania had bowed in love to 
Bottom of the asses' nowl, Theseus and his 
court had retired for the night, Oberon and the 
elfin Puck had mended their mistakes, and 
made the lovers happy, the curtain had fallen 
for the last time, and the audience, fortunately, 
had disappeared. An hour later and fire crept 
up and along the scenes, out through the green 
baize, up along the rich ornamentation of boxes, 
over richly gilded pillars and cushioned seats, 
and up to the beautiful ceiling and dome. 
Sounds were changed as well as scenes. In 
place of symphony and stirring melody crack- 
ling and roaring flames wrapped in a new and 
terrible splendor that beautiful interior, and the 
crash of cymbals and drums of the grand wed- 
ding march gave place to the terrible roar of 
falling dome and walls. 

It was while looking sadly upon this de- 
struction of his great pride that night that Mr. 
Pike, mechanically feeling for his watch and 
discovering that his pocket had been picked of 
it in the crowd, remarked: ''Well, that's add- 
ing insult to injury!" 

126 Driftwood of the Stage. 

They tore down the Httle old playhouse on 
Eighth Street, near Fourth Avenue, to make 
room for New York's new subway, and of the 
thousands of playgoers who have known it in 
the past it is doubtful if more than half a dozen 
knew that this dingy old building was a land- 
mark of genuine interest to music lovers the 
world over. The house had many vicissitudes 
in its latter years, but to those who frequented 
the theaters of the town a score of years ago 
it will be enshrined in memory. It was here 
that Jac. Aberle maintained a stock company 
engaged for the support of his daughter Lena, 
of immortal memory. Not one of his actors 
received more than twenty dollars a week, 
twenty-five per cent, of which was paid in bar 
checks, and Miss Aberle did not care what piece 
she appeared in provided there was a moon in 
it. Her impersonation of Camille, which she 
gave on her benefit nights — the stage creaking 
under her as she faded away and died — will 
never be forgotten by those who had the good 
fortune to witness it. 

Since the Aberle days the house had many 
tenants, including Johnny Thompson, the hero 
of the old-time drama, "On Hand," various 
Hebrew managers and at least one Italian im- 

Driftzvood of the Stage. 127 

presario. It was conducted for many years as 
the Germania Theater by Adolph Philip, who 
produced a number of very successful local 
German farces. 

It is not because of Thompson or Aberle or 
Philip, however, that the old Eighth Street 
Theater possessed an interest for playgoers, but 
because it was the scene of Adelina Patti's first 
appearance before the public as a singer. Years 
ago it was a church. That was during the 
fifties, when Adelina Patti, then a little girl, 
was living in New York in very humble cir- 
cumstances and studying music under her half- 
brother, Ettore Barilli, known in later life as 
a singing teacher of great ability. From her 
very earliest childhood Adelina impressed her 
big half-brother with a sense of her extra- 
ordinary vocal gifts, and he undertook her 
tuition with a firm belief in the brilliant future 
that lay before her. It was during this period 
of her musical education that he found the 
opportunity he had long wanted in the choir of 
the Eighth Street Church, and there, on a 
certain Sunday a few years before the civil war, 
the future diva sang for the first time before 
the public while her brother listened critically 
from his pew downstairs. 

128 Driftwood of the Stage. 

The newspapers of that day made no com- 
ment on the affair, and history is silent con- 
cerning the success of the experiment, but the 
fact that she was first heard there by a pubUc 
gathering deserves to be remembered long after 
Jac. Aberle and Lena and Johnny Thompson 
and the rest of them shall have passed into 

i^ V,^i'sr'^'."' 

Chari^es Richman. 

Driftzvood of the Sta^e. 129 


When it was apparent that Georgia Cayvan, 
the popular actress, so long associated with the 
old Lyceum Theater successes, would be unable 
to return to the active work of the stage, her 
professional brothers and sisters resolved to 
give evidence of their sympathy by organizing 
a history-making benefit, which took place at 
the Broadway Theater, New York, January 13, 
1903. Miss Cayvan had long been an invalid, 
and with the customary generosity of the pro- 
fession every actor and actress of note in the 
city rushed to the rescue of a disabled sister. 
The performers, as far as possible, were the 
associates of Miss Cayvan's days at the 
Lyceum. Many were acting in the current New 
York plays; others made flying trips from 

William Faversham opened the program 
with a few introductory remarks. Then James 
K. Hackett, Mary Mannering and members of 
the former's company gave the third act of 
"Don Caesar's Return." Mrs. Langtry con- 

130 Driftwood of the Stage. 

tributed a monologue, and Julie Opp a recita- 
tion. Julia Marlowe also recited. David Bis- 
pham sang "Danny Deever," accompanied by 
Walter Damrosch on the piano. 

E. H. Sothern and Ethel Barrymore ap- 
peared in a sketch, "Drifting Apart." Beatrice 
Herford gave a monologue. A new pastoral 
called "The Philosopher in the Apple Orch- 
ard" was played by Fay Davis and Bruce 
McRae. The Twelfth Night Club contributed 
a fantasy written for them by Grant Stewart, 
entitled "Columbia's Children." Other features 
on the bill were the champagne dance from 
"The Silver Slipper," and the Pansy song and 
dance from "The Billionaire." The entertain- 
ment was a financial as well as artistic success, 
the net receipts being over $9,cxx). 

It was one of the most splendid testimonials 
in the shape of a benefit this country has 
known. It was largely due to a sense of grati- 
tude, coupled with a feeling of personal afifec- 
tion, which led to the fine tribute to a stricken 

The fact that an artist is paid for his or her 
work at the time it is performed does not wipe 
out that debt of gratitude which an appreciative 
public feels for those whose efforts have given 

Driftwood of the Stage. 131 

them the keenest kind of pleasure — that which 
comes from beholding artistic work well done. 
Years ago, when Charles Fechter became fi- 
nancially embarrassed by reason of lack of 
patronage of the Globe Theater, which he had 
undertaken to manage at Boston, the citizens 
and fellow professionals of that city tendered 
him a complimentary benefit, which took place 
January 14, 187 1. The performance was one 
of the finest ever given in this country. While 
Mr. Fechter appreciated the compHment paid 
him, he refused to accept the receipts, and in- 
structed those who had charge of the affair to 
turn the money over to the worthy poor of the 

A benefit performance was tendered to John 
Brougham at Niblo's Garden, New York, May 
16, 1869. The play presented on that occasion 
was "The School for Scandal," in which John 
Gilbert appeared as Sir Peter and Mrs. D. P. 
Bowers as Lady Teazle. What was called a 
farewell testimonial to the same gentleman was 
given at the Fifth Avenue Theater, New York, 
May 13, 1876. On that occasion was presented 
"The Serious Family," with Maurice Barry- 
more, Georgia Drew and John Drew in the cast, 
and "Pocohontas," with John Brougham as 

132 Driftwood of the Stage. 

Powhattan, and Mrs. G. H. Gilbert as Poco- 
hontas. Mr. Brougham did not retire from 
the stage at that time, but continued to act at 
intervals until shortly before his death. His 
last appearance on any stage was at Booth's 
Theater, New York, October 25, 1879, as 
Coitier, in *Xouis XL" Mr. Brougham died 
June 7, 1880. 

Matilda Heron was tendered a testimonial 
benefit at Niblo's Garden, New York, January 
17, 1872. A fine bill was presented, the hst 
of attractions including a scene from ''The 
School for Scandal," John Jack appearing as 
Sir Peter to the Lady Teazle of Laura Keene, 
and one act of ''King John," in which Master 
Percy Roselle, a precocious boy actor, played 
Arthur. Miss Heron, who had been long ])e- 
fore the public, is perhaps best remembered for 
her clever impersonation of Camille, and was at 
one time looked upon as one of the most fas- 
cinating and brilliant ladies of the stage. She 
made her last appearance before the public at 
Booth's Theater, New York, December 25, 
1874, playing Lady Macbeth to the Macbeth of 
George Vandenhoff. Miss Heron died at New 
York, May 7, 1877. 

Edwin Adams, a favorite actor in romantic 

Driftwood of the Stage. 133 

drama, best remembered for his grand per- 
formances in "Enoch Arden" and "The Marble 
Heart," was an invalid for two years before his 
death. His last appearance on the stage as an 
actor was at the California Theater, San Fran- 
cisco, Cal., May 27, 1876, when he played lago 
to the Othello of John McCullough. He last 
appeared before the public at the same theater 
at a benefit performance which was tendered 
him. He was unable to act, but occupied a chair 
ii: the center of the stage while the company 
gathered about him and sang "Auld Lang 
Syne." Benefit performances were arranged 
for him at New York and Philadelphia on 
October 12, and at Pittsburg on October 17, 
1877, the net receipts from which amounted 
to about $10,000. He died at Philadelphia, 
October 28, 1877, beloved by all. 

William Warren, long a Bo^^ton favorite, was 
tendered a testimonial at that city on October 
28, 1882, in honor of his fiftieth year on the 
stage. Twice that day the theater was crowded 
to its utmost capacity, and he appeared once 
as Dr. Pangloss and once as Sir Peter Teazle. 
He was at that time presented with a massive 
loving cup by Edwin Booth, Joseph Jefferson, 
Mary Anderson, Lawrence Barrett and John 

134 Driftwood of the Stage. 

McCullough, and inscribed with their names. 
Mr. Warren at his death bequeathed the cup to 
Joseph Jefiferson, who gave it to The Players. 
For thirty-five years he was identified with the 
stage of the Boston Museum, his first appear- 
ance there being made August 23, 1847, ^^^ 
his last May 12, 1885, when he played Old 
Eccles in ''Caste." This was Mr. Warren's 
last performance on any stage. He died Sep- 
tember 28, 1888. 

Charlotte Cushman on her final retirement 
from the New York stage, November 7, 1874, 
was the recipient of one of the most flattering 
testimonials that has ever been paid to any 
artist in the whole history of the stage. At 
the end of a brief engagement at Booth's 
Theater, New York, then under the manage- 
ment of Jarrett and Palmer, her farewell was 
formally announced. The house was filled to 
its capacity, and the play selected was "Mac- 
beth," the same play in which she made her 
first appearance on the dramatic stage thirty- 
nine years before. After the play was finished 
the curtain was raised, and on the stage were 
discovered Miss Cushman and the members of 
the dramatic company. William Cullen Bryant 
made a happy speech and presented Miss Cush- 

Driftwood of the Stage. 135 

man with a crown of laurel on behalf of her 
admirers. Miss Cushman responded in a speech 
equally happy, but full of deep feeling. Her 
last appearance before an audience was at the 
Globe Theater, Boston, May 15, 1875. She 
died February 18, 1876. 

John Gilbert's fiftieth year on the stage was 
celebrated by a banquet at the Lotos Club on 
November 30, 1878, and a benefit performance 
at Wallack's Theater, New York, on the after- 
noon of December 5. For his benefit among 
those who appeared were Maude Granger, 
Dion Boucicault, Agnes Booth, Lester Wal- 
lack, Ada Dyas, George S. Knight, Birch and 
Backus, Mr. and Mrs. J. C. Williamson, 
Charles A. Stevenson and Stella Boniface. The 
screen scene from "The School for Scandal" 
was presented by Rose Coghlan, Charles Cogh- 
lan and Charles Barron. Mr. Gilbert's ad- 
dress on this golden anniversary was the cause 
of signs of emotion when he said: "During 
these fifty years I have seen moving two great 
processions of friends — one coming on the 
stage to play their brief parts, the other passing 
silently away." Mr. Gilbert's last appearance 
on any stage was at the Fifth Avenue Theater, 
New York, November 10, 1888, as Sir 

136 Driftzvood of the Stage. 

Anthony Absolute in "The Rivals." During 
his career he had played eleven hundred and 
fifty parts in tragedy and comedy, and it is said 
acting them all v^ell. He died at Boston, June 
17, 1889. 

Mrs. J. R. Vincent v^^as tendered a testi- 
monial benefit performance in honor of her 
fiftieth anniversary as an actress at the Boston 
Museum, April 25, 1885. The program in 
the afternoon was "She Stoops to Conquer." 
Mrs. Vincent playing Mrs. Hardcastle. In the 
evening the play was "The Rivals," with Mrs. 
Vincent as Mrs. Malaprop. At the end of the 
evening's performance she received an ovation, 
and in a few well-chosen words told of her deep 
pleasure. Mrs. Vincent died at Boston, Sep- 
tember 4, 1887. 

Henry E. Abbey, long a well-known mana- 
ger, was tendered a testimonial benefit at the 
Metropolitan Opera House, New York, April 
21,1884. The net receipts were $36,000. Mr. 
Abbey died October 17, 1896.- 

Tony Hart, long associated with Edward 
Harrigan, and without doubt the most versa- 
tile performer that ever appeared in vaudeville, 
was compelled to retire from the stage on ac- 
count of illness. A monster benefit was given 

Driftwood of the Stage. 137 

him at the Academy of Music, New York, 
March 22, 1888, which netted $12,000. Among 
those who took part in the performance was 
Nat C. Goodwin, who acted Marc Antony in a 
scene from ''Julius Ciesar," in such a manner 
as to surprise his friends. Mr. Hart entered 
into partnership with Harrigan in 1871, and 
continued with him for fourteen years. Their 
first appearance in New York w^as at the Globe 
Theater in 1872, and their last appearance to- 
gether on the stage was at the Park Theater, 
Brooklyn, N. Y., June 13, 1885. Everybody 
liked Tony Hart, and his appearance on the 
stage under whatever name for the occasion 
was always with a warm hearted reception. By 
hard work he made his way up to the top of 
the ladder of professional fame, and he died 
honored as one of the most finished actors of his 
day. He originated many of the characters 
that are now seen on the stage. Dead at thirty- 
six, he was fortunate in having a consistent and 
perfect career. Mr. Hart died at Worcester, 
Mass., November 4, 1891. 

A testimonial benefit was tendered to Clara 
Morris, who through illness was compelled to 
close her dramatic career. The affair was in 
charge of Amelia Bingham, and took place at 

138 Driftwood of the Stage. 

the Broadway Theater, New York, April 14, 
1903. The performance was opened with an 
address by the Rev. Dr. A. F. Underhill. 
Following- the address A. S. Witmark sang a 
number of songs, and then came Clyde Fitch's 
one-act comedy, "Frederic lycMaitre," which 
was admirably acted by Henry Miller, Martha 
Waldron and Miriam Bruce. Next came J. E. 
Dodson and Annie Irish, in Buckstone's comical 
old farce, "A Kiss in the Dark." Agnes Booth 
and Boyd Putnam then presented Bronson 
Howard's comedy, *'0'ld Love Letters," in 
charming fashion. Joseph Haworth appeared 
next in Augustus Thomas' sketch, ''A Man of 
the World." This was followed by the trial 
scene from ''The Merchant of Venice," with 
Minna Gale Haynes as Portia, and Creston 
Clarke as Shylock. The last number was the 
balcony scene from ''Romeo and Juliet," played 
by Edward Harrigan and Annie Yeamans pre- 
cisely as the> used to play it in Mr. Harrigan's 
comedy, "Investigation." Between the several 
dramatic offerings songs were sung by Blanche 
Ring and Adele Ritchie. 

Many messages from players and old ad- 
mirers of Miss Morris who were unable to be 
present were received. A cablegram from 

Driftwood of the Stage. 139 

Sarah Bernhardt read as follows: "I would 
like to be there to personally express to you my 
admiration for your talent, and my sympathy 
for you. You are one of those who have 
honored our profession by the beauty of your 
life. I salute you with emotion and tender- 
ness." The receipts amounted to $6,500. 

On Monday, June i, 1903, the Olympic 
Theater, Chicago, was turned over to the pro- 
fessionals playing at that city, and they gave 
the most unique continuous performance ever 
seen in a theater for the benefit of the family 
of William T. ("Biff") Hall. From noon to 
nearly midnight the theater was packed to its 
capacity, and more than $5,000 was handed 
over to the widow and children of Mr. Hall as 
a result. There were no waits, representatives 
were sent from every theater in town, and at 
one time there were over two hundred persons 
on the stage and back of the scenes awaiting 
their turn. 

The companies participating were "King 
Dodo," "When Johnny Comes Marching 
Home," "The Tenderfoot," "The Little Prin- 
cess" and "A Chinese Honeymoon." William 
H. Crane journeyed from New York to take 
part in the performance. Among the many 

I40 Driftwood of the Stage. 

vaudeville turns on the bilt were Ross and Fen- 
ton, J. Bernard Dyllyn, Jessie Bartlett Davis, 
Lew Hawkins, Gallagher and Barrett, Elizabeth 
Murray and Kelly and Violette. 

"Biff" Hall, as he was generally known, was 
famous as a writer, dramatic critic and after- 
dinner speaker, and few men in America had 
a wider acquaintance in the theatrical profes- 
sion. He died at Colorado Springs, Col., May 
16/ 1903. 

Lester Wallack met with business reverses 
at the close of his career, and was tendered a 
benefit at the Metropolitan Opera House, New 
York, May 21, 1888, which netted $21,000. 
The benefit was managed by A. M. Palmer, 
Augustin Daly, and committees of eminent 
actors and newspaper men. Those who were 
not assigned parts went on as supernumeries, 
and such an array of well-known players was 
never before seen on any stage in this country. 
Mr. Wallack died at Stamford, Conn., Septem- 
ber 6, 1888. A performance of "Hamlet" was 
given with the following cast : 

Hamlet Edwin Booth 

The Ghost Lawrence Barrett 

The King Frank Mayo 

Polonius John Gilbert 

Driftwood of the Stage. 141 

Laertes T Eben Plympton 

Horatio John A. Lane 

Rosencrantz Charles Hanford 

Guildenstern Lawrence Hanley 

Osric Charles Koehler 

Marcellus E. H. Vanderfelt 

Bernardo Herbert Kelcey 

Francisco Frank Mordaunt 

First Actor Joseph Wheelock 

Second Actor Milnes Levick 

First Grave-Digger Joseph Jefferson 

Second Grave-Digger W. J. Florence 

Priest Henry Edwards 

Ophelia Helena Modj eska 

The Queen Gertrude Kellogg 

Player Queen Rose CogbUn 

142 Driftzvood of the Stage. 


Those in theatrical life at times receive more 
than their share of abuse. Their failings and 
misfortunes are paraded before the public, but 
their charities and good deeds are seldom 
thought worthy of mention. In time of fire, 
flood or other devastation, they are among the 
first to render aid, and their services are con- 
tinually sought for benefits to asylums, hospitals 
and like charities. Their work on the stage is 
always open to just criticism, but the faults of a 
few should not condemn the entire profession. 
Clergymen of certain denominations are the 
chief offenders, and they never let an oppor- 
tunity pass to say something unkind of the 
actor. But who ever heard an actor speak ill 
of a clergyman ? These good men do not seem 
to know that there is an Actors' Church 
Alliance, with chapters in nearly all of the large 
cities, nor that many professionals are regular 
church attendants and take an active part in 
church work and charities. Members of the 
theatrical profession are found within the sacred 

Driftwood of the Stage. 143 

walls as often as any other class, but they do 
not boast of the fact. 

Most of the comparatively few tirades against 
the theater from the pulpit nowadays are based 
on antique ideas of the theater. The preachers 
that thus offend common sense are fond of 
talking about what the theater was centuries 
ago, when so-called Christians themselves, 
divided into violently opposed sects, were busy 
hanging, burning and barbarously torturing one 
another in the name of religion. 

This is a late day for any preacher prominent 
or aspiring to prominence to hold forth on the 
alleged common wickedness of persons asso- 
ciated with the theater, and the classification 
of the stage as an institution typical of hell. 
That sort of pulpit talk is as obsolete as are 
some of the doctrines as to human punishment 
and the aberrant flights of imagination by the 
terrifying means of which the old-fashioned 
preacher brought his hearers to a realization 
of what he pretended to believe was in store 
for them hereafter if they should deviate a 
hair's breadth from the path that he, acting as 
an independent surveyor, had marked out. The 
tremendous educational and moral force of the 
stage must be admitted when one reflects that 

144 Driftzvood of the Stage. 

in a great city each night more people attend 
the theaters than attend all the churches on a 
Sunday. ^ 

In the early days of the theater not only the 
players, but those who attended such places of 
amusement were held in bad repute, and severe 
laws were enacted and penalties prescribed for 
both player and audience. E.verything possible 
was done to discourage this form of amuse- 
ment, but without avail. The theatergoers of 
today have reason to congratulate themselves 
on the change that has come over the world 
since the present era of the playhouse was in 
its youth. Thus, a Cromwell parliament en- 
acted a law providing that ''all stage players 
and players of interludes and common plays 
shall be taken for rogues, whether they be 
wanderers or no, and notwithstanding any 
license from the king or any other person or 
persons to that purpose. A fine of five shillings 
shall be inflicted upon any person attending the 
performance, and any player caught in the act 
is to be publicly whipped and compelled to find 
sureties for future good behavior." 

While there were formerly a great many 
things about theatrical performances to shock 
religious people, their criticism of the stage was 

Driftwood of the Stage. 145 

none the less often based upon mere prejudice. 
It was in order to bring about more enlightened 
views that the clergy had co-operated in the 
formation of the Actors' Church Alliance, one 
of whose fundamental principles was that the 
theater as an institution played an important 
part in promoting the welfare of society. This 
organization had a bishop for its president, and 
had developed chapters at Boston, New York, 
Philadelphia and other cities which were pre- 
sided over by clergymen. 

At the fair of the Boston Chapter, held at the 
Hotel Vendome at that city in 1902, the Rev. 
Dr. George W. Shinn, president of the Boston 
Chapter, opened the fair with a short address, 
after which he introduced Bishop Lawrence and 
Mrs. Fiske as the speakers of the occasion. 
Bishop Lawrence gave a resume of the work 
of the Alliance. Mrs. Fiske said in part : ''This 
is a good day for the stage and for the church. 
It marks a step on the way to further friend- 
ship. The players have long known the church, 
but perhaps the church has not yet quite under- 
stood the players. Here in our own country 
we hold in beloved memory the names of the 
women of the stage of yesterday — among 

others Charlotte Cushman, Maggie Mitchell, 

146 Drifizvood of the Stage. 

later Mary Anderson, and that matchless sprite 
of innocent joyousness, Lotta Crabtree. We 
remember these women not only as women of 
genius, but as women whose lives were inspira- 
tions to those about them. These women stood 
in the glare of light. There are countless others 
who work humbly in the shadow. The church 
should be glad and proud to know them better, 
as they will be glad to know the church." 

Some have left the church for the stage and 
others have left the stage to take up the work 
of the church. The Rev. George C. Miln gave 
up the pastorate of a large and wealthy con- 
gregation to seek and win dramatic recognition 
as a player of Shakespearean roles- and Walter 
E. Bentley, an actor of great promise, left the 
stage for the self-sacrificing life of a minister 
of the gospel; to visit the sick, to comfort the 
dying, to bury the dead. The Rev. Walter E. 
Bentley, as we now know him, was one of the 
founders of the Actors' Church Alliance of 
America, the objects of which are to promote 
the best interests of the stage and the church 
by seeking to produce on the part of each a 
just appreciation of the opportunities and re- 
sponsibilities of the other; and by uniting the 
stage, the church and the general public in a 

Viola Allen. 

Driftwood of the Stage. 147 

mutual effort for the benefit of all, espe- 
cially in protecting the actors from being com- 
pelled to play in Sunday performances. 

James H. Hackett, actor, manager, and one 
of the greatest Shakespearean readers of his 
day, spoke and wrote several languages, and it 
has been said that he frequently preached in 
French, German, etc. Ackland VonBoyle, a 
character actor of great merit and a member of 
a well-known theatrical family, left the stage 
and became a minister of the gospel. 

The Rev. Dr. Mallory, at one time interested 
in the management of the Madison Square 
Theater, New York, was the editor of The 
Churchman, the organ of the Eipiscopal church, 
as well as a clergyman. The Rev. Forbes 
Phillips, vicar of Gorleston, was the author of 
a four-act drama entitled "Church and Stage," 
said to deal with many of the problems of the 
church with a fearless hand. The Rev. Francis 
H. Kelly, of Lapeer, Mich., wrote a play that 
was successfully produced. 

At the Trinity Evangelical German Lutheran 
Church, Baltimore, Md., one Sunday night, a 
drama, entitled "An Orphan," by the pastor, 
the Rev. A. F. Sterger, was produced before 
an audience that overflowed the church. The 

148 Driftwood of the Sta^e. 

daughter of Dr. Sterger played one of the parts^ 
and Dr. Sterger was the stage director. The 
play dealt with the joys and sorrows of an 
orphan girl, the stage settings were upon the 
pulpit platform, and the costumes were appro- 

The Rev. C. H. Jones, of the First Presby- 
terian Church, of Oswego, N. Y., shocked the 
conservative element of his town by making a 
contract with a bill poster to bill the city adver- 
tising his sermons side by side with theatrical 
posters. The Rev. John Home wrote the play 
"Douglas," and was deposed from the ministry 
for so doing, so great in those days was the 
prejudice against the stage. The Rev. Dr. A. 
F. Underbill was selected as treasurer of the 
fund that was raised for the relief of Clara 
Morris. Robert J. Burdette, the humorist, who 
turned preacher, held his first service in the 
Temple Church, Los Angeles, Cal. His subject 
was "Assured Prosperity." 

The corner stone of the Nixon Theater at 
Pittsburg, was laid with the appropriate ritual 
of the Protestant Episcopal Church. The 
clergymen officiating were Rev. L. W. Shea 
and Rev. W. J- Dawson, assistant rectors of 
Trinity Church. After Samuel S. Nixon, of 

Driftwood of the Stage. 149 

the firm of Nixon and Zimmerman, had placed 
the box in the niche prepared for it, Rev. W. 
J. Dawson blessed the playhouse and christened 
it "The Nixon." A large crowd witnessed the 

The Rev. Edward Davis, a well-known min- 
ister of California, adopted the stage and re- 
nounced the ministry. As a pulpit orator Mr. 
Davis was popular when pastor of the Central 
Church at Oakland, Cal., and of the First 
Christian Church of San Francisco. He refused 
a call to the Loudon Street Temple, Melbourne, 
Australia, at $5,000 a year, to become an actor 
at a small salary. Spencer Cone retired from 
the profession and became a distinguished 
clergyman. Charles Weeks gave up the stage 
and became a preacher of the gospel. After 
having abused the profession roundly he re- 
turned to the stage, giving as his reason for 
so doing that he was compelled to do so by 
sheer necessity, having a mother and young sis- 
ters depending on him for support. 

W. W. Pratt, actor, author and manager, left 
the stage to become a preacher and temperance 
lecturer. He wrote the play, "Ten Nights in a 
Bar Room." The Rev. John Weiss, of Boston, 
wrote a new fifth act for Maggie Mitchell's 

150 Driftzi'ood of the Stage. 

famous play of *'Fanchon." The great show- 
man, P. T. Barnum, was a noted temperance 
advocate and lectured on that subject for years. 
Dan Rice at one time was a temperance lec- 
turer. To the elder Booth all forms of religion 
and all temples of devotion were sacred, and in 
passing churches he never failed to bare his 
head reverently. J. P. Adams, a well-known 
comedian, became a leader in the Mormon 
Church. The Rev. William B. Shean gave up 
the pastorate of a church at Peru, Ind., and 
joined the circus as a lecturer on the animals 
in the menagerie. 

Some of our most prominent operatic stars 
are graduates from the church choir. One of 
the most popular opera companies the country 
ever had was known as the Chicago Church 
Choir Company. The Gorman Philadelphia 
Church Choir Company was made up entirely 
of singers from the choirs of churches at the 
city of Brotherly Love. 

James A. Heme would often occupy the pul- 
pit of churches in cities where he would play 
during the week, and large audiences were the 
rule. Frederick Warde delivered a splendid 
address from the pulpit of Grace Episcopal 
Church, Cedar Rapids, Iowa, and the interest 

Driftwood of the Sta^e. 151 

was so great that the church was packed an 
hour before the service. The newspapers of 
that city devoted many columns to the event 
the following day. The Rev. Dr. Green, the 
rector, conducted the services, and in introduc- 
ing Mr. Warde spoke very effectively on the 
relations between the church and the drama and 
the great good already accomplished in bringing 
them together. 

The great temperance orator, John B. Gough, 
was at one time an esteemed member of the 
theatrical profession, and labored long in the 
cause which he espoused. Bob Hart, a famous 
minstrel in his day, took up the work of an 
evangelist, and later was ordained a clergyman 
and became widely known under his right name, 
Rev. James M. Sutherland. He associated 
himself with a sweet singer by the name of 
Dwyer, who had long been with Bryant's Min- 
strels, but left the stage to take up the work of 
an evangelist. 

One of our most successful managers had a 
religious objection to the giving of Sunday per- 
formances, and for years refused to accept any 
of the proceeds of a performance given on that 
day from his partners. Many of our most 
noted actors rebel against playing on Sunday, 

152 Driftwood of the Stage. 

and the theaters in localities that usually give 
performances on that day are compelled to close 
during their engagements. 

It is to the church choir that the stage is 
indebted for Alice Neilson, Grace Van Studdi- 
ford, Fanchon Thompson, Jessie Bartlett Davis 
and Adele Rafter. It w^ould be hard indeed to 
estimate how many times these ladies have sung 
for church charities during their stage career. 
May Fielding sang in the choir of Christ 
Church, Detroit, Mich., before she joined Au- 
gustin Daly's company at New York, which 
v»as her first appearance on any stage. The first 
time lyillian Russell ever sang in public was in 
the Central Methodist Episcopal Church at the 
same city. Maxine Elliott began her public 
career by singing in the choir of a Baptist 
church in a small village in Maine. 

There are many professionals who are liberal 
givers to the church, as well as regular attend- 
ants. Their names are often found on sub- 
scription lists for the support of orphan asylums, 
homes for friendless children and other church 
charities. It was through Frank Queen's liber- 
ality that the Methodist E-piscopal Mariner's 
Bethel Church at Philadelphia was built. He 
provided the money with which the ground was 

Driftwood of the Stage. 153 

purchased, and furnished nearly all the funds 
with which to construct the church and parson- 
age. This amount was $85,000, without interest 
or any paper to show^ indebtedness. When the 
building- was completed he gave many thou- 
sands of dollars towards its support. 

In different parts of the country will be found 
houses of worship which contain handsome 
paintings, rich stained glass windows, finely 
carved altars, sweet toned organs, valuable com- 
munion plate and costly vestments given by or 
purchased with funds contributed by people of 
the stage. 

Many well known professionals will not play 
on Good Friday, and some have religious 
scruples against playing at all during Holy 
Week. For many years it was the rule that 
no performance be given at Daly's Theater, 
New York, on Good Friday, the late Augustin 
Daly being a Catholic. After Mr. Daly's death 
the custom was kept up. This mark of respect 
is worthy of more than passing notice, as the 
house passed into the hands of Daniel Froh- 
man, a Hebrew. 

154 Driftwood of the Stage. 


Everyone loves the songs and traditions of 
his country, but that is particularly true of the 
American. He is an exceedingly emotional be- 
ing; a homely ballad sung in a homely way is 
never unnoticed by him. He loves the song 
and he loves the singer. 

Of late years there has been a tendency to 
sing the street song rather than the old-time 
ballad. The songs that are learned in child- 
hood are rarely forgotten; they will ring true 
all through life, so only those should be learned 
that are good and beautiful. Where can you 
find anything sweeter than "Old Folks at 
Home"? It is one of our folk songs. Who 
has not been moved to tears by its plaintive air 
and words fraught with homesickness? There 
have been all sorts of stories told about this 
beautiful song, which was written by Stephen 
C. Foster. His best songs were for years 
credited to Edwin P. Christy, the negro min- 
strel, under whose name they appeared. It was 
not until "Old Folks at Home," "Old Black 

Driftzvood of the Sta^e. 155 

Joe," ''Massa's in the Cold, Cold Ground," 
'*My Old Kentucky Home," and the rest had 
been made popular by the Christy Minstrels that 
it became known that Foster was their author, 

''The Last Rose of Summer" is made im- 
mortal, first through Tom Moore, and also as 
a musical gem from Flotow's opera of 
''Martha." "Nellie Gray" is another sweet old 
song. "Annie Lisle," "Sally in Our Alley" and 
"Kathleen Mavourneen" are old songs full of 
pathos. "Comin' Thro' the Rye," "Robin 
Adair," "Annie Laurie" and "When the Swal- 
lows Homeward Fly," like "The Last Rose of 
Summer," are ours by adoption. "Old Dog 
Tray," "Ben Bolt," "Hard Times Come Again 
No More," "The Little Brown Jug" and 
"Paddle Your Own Canoe" were among the 
great song successes of bygone days. 

But perhaps those we love best were written 
during the civil war. "The Vacant Chair," 
"Tenting on the Old Camp Ground," "Just Be- 
lore the Battle, Mother," "Tramp, Tramp. 
Tramp, the Boys are Marching," and "Johnny 
Has Gone for a Soldier," were great favorites 
of the boys in blue, and "The Bonnie Blue 
Flag," "Dixie," and "Maryland, My Mary- 
land," were the rallying songs of those who 

156 Driftzvood of the Sta^e. 

espoused the lost cause. Our patriotic songs, 
"The Star Spangled Banner," "America," and 
"Columbia, the Gem of the Ocean," are only 
equaled in popularity by "Marching Through 

The lack of knowledge Americans have of 
their national songs is often noted. Returning 
to their native land one summer by an English 
ship was a large number of Americans. On 
Sunday the captain read service in the dining 
saloon and at its close, in deference probably 
to the preponderance of Americans in his com- 
pany, designated "America" as the hymnn to be 
sung. Everybody stood up and the first verse 
was given with a gusto. Much weaker in 
volume was the singing of the second verse. 
The third began with only two or three voices 
that trailed off into dead silence before its end, 
though the organ kept bravely on. 

Either the captain intended it from the first, 
or else the weakness of the singing suggested 
it to him, but at the finish he asked for "God 
Save the King." Then it was that the Ameri- 
cans were ashamed to listen to the handful of 
Englishmen sing lustily and with confidence, led 
by the captain himself, their national anthem 
from start to finish. 

Driftwood of the Sta^e. 157 

In the early part of the sixties, the populai 
songs were ''Swinging in the Lane," ''Her 
Bright Smile Haunts Me Still," "Maggie May" 
and "Oh, Dear, What Can the Matter Be." 
Much of their success, however, was due to the 
fact that they were sung in the public schools 
of New York. A little later we had "Silver 
Threads Among the Gold," "The Mabel 
Waltz," "Gathering Shells by the Seashore" 
"Put Me in My Little Bed," "Come, Birdie, 
Come," and "Put My Little Shoes Away," 
which all became popular. 

It often occurred that singers would become 
identified with certain songs, and no one would 
think of infringing on their supposed rights. 
If one went to the minstrels and Dan Bryant 
was on the end you were sure to hear "Lani- 
gan's Ball," "Finnigan's Wake," or some other 
rollicking Irish song. If Joe Murphy was on 
the end you would hear "Gypsy Davy," and if 
it happened to be Hughey Dougherty you were 
sure of "Sweet Evelena." Fred Waltz, a singer 
in the Philadelphia minstrel halls, for many 
years sang a ballad called "Dorkins' Night," and 
J. L. Carncross at the same city for a long time 
sang "Over the Garden Wall" and "The Blue 
Alsatian Mountains." The bass singer was 

158 Driftwood of the Stage. 

always expected to sing^ ''Rocked in the Cradle 
of the Deep" or "Dublin Bay," and the 
quartette were sure to favor the audience with 
"Larboard Watch" and "Come Where My 
Love Lies Dreaming." 

At a rehearsal of the San Francisco Minstrels 
one morning, Dave Wambold, who sang so 
beautifully "My Pretty Red Rose" and "The 
Letter in the Candle," surprised his associates 
with his intention of singing "The Sweet Bye 
and Bye." By some this was thought to be sacri- 
legious, and would be resented by the press and 
public, as it had always been looked upon as a 
piece of religious music and had no place in 
the theater. They were much mistaken, how- 
ever. It had never been sung as Mr. Wam- 
bold sang it. and in a few days all New York 
was singing it. The sale of this song reached 
over half a million copies. All minstrel per- 
formances closed with a walk around by the 
entire company, and the most popular songs 
used for this number were "Carry the News to 
Mary" and "Walk Along, John." 

In the vaudevilles the first of the comic 
vocalists, as they were then called, were Tony 
Pastor, Billy Pastor, George R. Edeson and 
Billy Holmes. Among the first songs that 

Driftwood of the Sta^e. 159 

Tony Pastor sang on the stage were "J^^ 
Bowers" and "Pretty Polly Perkins of Wash- 
ington Square." It would be hard indeed to 
try and enumerate all the songs that this gen- 
tleman sang in his long career, but his most 
popular ones were "Tommy, Make Room for 
Your Auntie," "Jockey Hat and Feather," "It's 
for Money," '"Down in a Coal Mine," "Whoa! 
Emma!" and "Where Was Moses When the 
Light Went Out?" In 1867 Charles A. Vivian 
came to this country and brought with him 
"Ten Thousand Miles Away," "Up in a Bal- 
loon," and several other songs that became 
quite popular. Then we had "Champagne 
Charlie," "Tassels on the Boots," "Moet and 
Chandon," "Any Ornaments for Your Mantel- 
piece," and others of that sort. The ladies who 
were billed as serio-comic vocalists used to sing 
"The Ckptain With His Whiskers," "Winking 
at Me," "Starry Night for a Ramble," "March- 
ing Through the Park," and "The Man in the 

Will Carleton, a famous Irish singer, gave 
us a new style of song with his "Dandy Pat" 
and "The Whistling Thief." Later, Pat 
Rooney introduced "Pretty Peggy" and "Danc- 
ing Round with Julia." Pete Cannon sang 

i6o Driftwood of the Stage. 

"On Board the Bugaboo" and ''Water on the 
Brain." Most of the Irish comedians had in 
their repertoire "My Father Sold Charcoal/' 
"Apples and Pears" and "The Dublin Dancing 

Two beautiful songs written by Matt 
O'Reardon were "Marriage Bells" and "My 
Dream of Love is O'er." A pathetic story has 
been told of the love of the author for a well- 
known actress, v^^hich was unreturned. The 
announcement of her marriage to another was 
soon followed by these two musical gems. A 
broken heart, a miserable ending and an un- 
known grave was the lot of this gifted musician. 
Other songs worthy of mention were "Baby 
Mine," "Wait Till the Clouds Roll By," "A 
Flower from My Angel Mother's Grave," 
"When the Leaves Begin to Turn," "Seeing 
Nellie Home," "Beautiful Bells," "Down by 
the Old Mill Stream," "The Lively Flea," 
"Wait for the Wagon," and "You'll Never 
Miss the Water Till the Well Runs Dry." 

The songs of William J. Scanlan must not 
be overlooked. To hear his name is to think 
of "Peek-a-Boo!" "My Nellie's Blue Eyes" 
and "Gathering the Myrtle with Mary." The 
children of a decade were rocked to sleep to the 

Drifizvood of the Sttn^e. i6i 

music of his "Bye, Baby, Bye Bye." The first 
to write parodies on popular songs was Gus 
Williams. One of the first songs used by this 
gentleman was 'Tolly, Put the Kettle On." 
Among his many successful German parodies 
may be mentioned ''Mygel Schneider's Party,'* 
'Tins and Needles," "The German Fifth," and 
''You'll Never Miss the Lager Till the Keg 
Runs Dry." J. K. Emmett, who had been an 
orchestra drummer in St. Louis, entered the 
professional ranks as a Dutch song and dance 
artist with such songs as "The Deitcher Gal 
vot Winked of Me" and "Happy Leetle 
Deitcher," a parody on "Happy Little Darkies." 
His greatest hit was made with one of Mr. 
Williams' songs, "Keiser, Don't You Want to 
Buy a Dog?" Later Mr. Emmett gave to us 
some of the most beautiful songs ever sung on 
the stage. The most popular were "The Moun- 
tain Guide,"^ in which he introduced his drum 
solo, "The Cuckoo," "Sweet Violets," 
"Schneider, How You Was?" and the world- 
famous "Lullaby." 

There were always plenty of songs that told 
of the beauty of certain flowers. Among the 
best were "Pretty Pond Lillies," "Little Bunch 
of Lilacs," "Where the Flowers Blush and 

1 62 Driftwood of the Stage. 

Bloom" and "Only a Pansy Blossom." The 
soldier was always a good subject for the song 
writer, and we were given ''The Gallant Sixty- 
Ninth/' "The Grenadier Drum Major," "Cap- 
tain Jinks of the Horse Marines," "The Regu- 
lar Army, O!" "The Charleston Blues" and 
"The Skidmore Guards." 

That inimitable wit, J. W. Kelly, equally 
good in song and story, used to say in one of 
his monologues: "Did you ever notice how 
many songs have been written about mother? 
There is 'Take Me Back to Home and Mother,' 
*A Boy's Best Friend is His Mother,' and a lot 
more. They seem to overlook father. The 
only songs they ever wrote about him had him 
drunk on the street and a half -starved child 
saying, 'Father, Dear Father, Come Home 
With Me Now.' Another one is 'The Old 
Man's Drunk Again.' Some one wrote a song 
'You're So Good, Daddy,' but it was a failure. 
No one would believe it. One song tells of an 
old man who has reared a large family. They 
have no futher use for him and he is sent 'Over 
the Hills to the Poorhouse.' Even this old man 
on his way to a home as a county charge is not 
given a decent road to walk on, but is made to 
climb a lot of hills to get there." 

Driftwood of the Sta^e. 163 

The old-time song and dance men were the 
authors of a number of very good songs. Har- 
rigan and Hart are best placed in this class, as 
their first joint appearance was in a black-face 
song and dance, and they soon after found 
much favor with the public for their fine rendi- 
tion of "The Little Fraud." Still later this 
team came to the front with such songs as "The 
Mulligan Guards," "The Mulcahey Twins," 
"Babies on Our Block," "Slavery Days," "Way 
Up at Dudley's Grove," "Never Take the 
Horseshoe From the Door," and scores of 
others of equal merit. 

Among Bobby Newcomb's most successful 
songs were "Sweet Forget-Me-Not" and 
"Crossing on the Ferry." He was the author 
of many songs that became hits in the vaude- 
villes. What would be thought now of a per- 
son that would sing one song for three suc- 
cessive years? Dave Reed did this at the 
breaking out of the civil war, with "Sally, Come 
Up." Several years after, in conjunction with 
Dan Bryant, he made "Shoo, Fly," famous, 
when the old Bryant's Minstrels were located 
in Tammany Hall, New York. Ben Cotton, 
the first to portray the aged darkey on the stage, 
for many years sang "Old Uncle Snow" in such 

164 Driftzvood of the Stage. 

a manner that neither the management nor pub- 
he seemed to care for a change. 

The first song that Billy Emerson sang when 
he entered the profession was ''Saucy Sam.'' 
but afterwards became identified with the "Big 
Sunflower." Performers in this class had songs 
with such titles as "Nicodemus Johnson," 
"Josephus Orangeblossom," "Adolphus Morn- 
inglory" and ''Rebecca Jane." Those doing a 
neat specialty preferred "My Gal," "Pretty as 
a Picture," "Riding in a Street Car," "Dancing 
in the Barn," "Where the Ivy Grows So 
Green," and others of the same style. 

Delehanty and Hengler, in addition to being 
considered the best the stage ever knew in their 
line of work, composed the words and music of 
all their songs. To them we were indebted for 
"Love Among the Roses," "Darling Mignon- 
ette," "Strawberries and Cream," and others 
too numerous to mention. They were the 
authors of "Happy Hottentots," which they 
were the first to introduce. The press criticized 
the song as some of the lines had a tendency 
to advertise a then famous patent medicine, 
•Helmbold's Buchu, and they withdrew it, re- 
turning to their former neat specialty. 

No more are heard such sweet melodies as 

Driftwood of the Stage. 165 

"Mollie Darling," "Sweet Be Thy Repose," 
"Ever of Thee," ''Waitmg My Darling for 
Thee," "Beautiful Isle of the Sea," "Good-Bye, 
Sweetheart, Good-Bye," "Write Me a Letter 
from Home," "The Fisherman and His Child," 
"The Danube River" and such comic ditties as 
"Cruel Mary Holder," "Courting in the Rain," 
"The Grecian Bend," "Billy Boy," "Dolly Var- 
den," "The Bell Goes Ringing for garah," and 
**Lord Lovell." They have been long forgotten, 
and can only be classed among the swe**! mem- 
ories of bygone days. 

1 66 Driftwood of the Stage. 


In the beautiful Mt. Auburn Cemetery, 
Boston, Mass., is the grave of Charlotte Cush- 
man, laid to rest after a stage career of forty 
years, and not far distant are the graves of 
Helen and Lucille Western, famous actresses in 
their day, and who traveled all over the country 
as successful stars. In this same cemetery are 
the remains of Mary Devlin, the first wife of 
Edwin Booth, who passed away at Dorchester, 
Mass., February 21, 1863, at 23 years of age. 
She rests beside her husband in this peaceful 
place. Mary F. McVicker, the second Mrs. 
Booth, died at New York, November 13, 1881, 
at the age of 32, and is buried at Chicago. 

Jenny Lind, one of the most popular singers 
ever heard in this country, died at London, 
England, November 2, 1887. On April 20, 
1894, a tablet was unveiled in Westminster 
Abbey to her memory. The remains of Fanny 
Davenport were interred in Forest Hill Ceme- 
tery, Boston, Mass. The great tragedian, Ed- 
ward L. Davenport, and his wife are buried 

Henry B. Harris. 

Driftivood of the Sta^e. 167 

side by side in the same plot. Mary Scott-Sid- 
dons died at Paris, November 19, 1896. Her 
remains were taken to England and buried in 
Woking Cemetery, London. 

Mrs. John Drew, after many years of faith- 
ful service to the public as actress and man- 
ageress, was laid to rest in Glenwood Cemetery, 
at Philadelphia, beside her husband, who passed 
away in May, 1862. The remains of her 
daughter Georgia Drew Barrymore, who died 
in California in the summer of 1893, are in- 
terred in the same plot. Agnes Ethel, noted 
for her fine portrayal of emotional roles, and 
who left the stage at the height of her success, 
was cremated and her ashes buried in Forest 
Lawn Cemetery, Buffalo, N. Y. 

Nina Varian, an exceptionally clever actress 
and universal favorite, died at sea. The im- 
pressive burial service usually accorded to those 
who die on shipboard was read, and her body 
Committed to the deep. Bernice Wheeler, an- 
other stage favorite, found a watery grave in 
the wreck of the steamer La Bourgogne, July 
4, 1898. Annie Pixley was cremated and so 
was Emma Abbott. The ashes of the latter 
are buried beneath a handsome monument at 
Gloucester, Mass. Lizzie Creese was cremated 

1 68 Driftzvood of the Stage. 

at Fresh Pond, Long Island, and her ashes de- 
posited in a copper urn in the mortuary chapel 
at that place. 

Laura Keene, whose dramatic career was 
very eventful, and who at one time held a posi- 
tion of influence upon local dramatic affairs in 
New York, died at Montclair, N. J., November 
5, 1873, and was there buried in the Catholic 
Cemetery. At her own request her death was 
not publicly announced until the last rites were 

Adelaide Neilson, a remarkably beautiful and 
accomplished actress, whose farewell perform- 
ance in this country took place at Baldwin's 
Theater, San Francisco, July 17, 1880, died at 
Paris, August 15, of the same year. Her body 
was taken to England and laid away in Bromp- 
ton Cemetery, London. All that was mortal of 
her is now covered by a cross of white marble, 
inscribed with her name, date of death and the 
words : "Gifted and Beautiful. Resting." Alice 
Dunning Lingard, a vocalist and actress of 
much talent, who came to this country in 1868, 
and appeared in many of the most successful 
burlesques produced at that time, is buried in 
the same cemetery. 

The tomb of the great Rachael is in the 

Driftwood of the Stage. 169 

Cemetery of Pere la Chaise at Paris. The re- 
mains of Sibyl Sanderson were cremated and 
the ashes interred in a peaceful spot but a short 
distance away. In the same cemetery will be 
found the plain and massive arched blocks of 
granite constructed by Sarah Bernhardt as a 
mausoleum for her remains in the event of her 
death. Mile. Henriot, the young actress burned 
to death at the fire in the Comedie Francaise at 
Paris in 1899, is buried in the Passy Cemetery 
at the same city. 

The tomb of Adah Isaacs Menken, a bril- 
liant actress, who was as well known in Europe 
as in her own country, is in Mont Parnasse 
Cemetery, at Paris. Her remains were tem- 
porarily interred in the strangers' burying 
ground in Pere la Chaise Cemetery at that city, 
and about a year later removed to their present 
resting place. Her last appearance before the 
public was at her own benefit at Sadler's Wells 
Theater, London, May 30, 1868. 

Arrangements had been made to produce 
"Les Pirates de la Savene" at the Theater 
Chatelet, Paris, in July, 1868, on the grandest 
scale ever attempted, with the great American 
artiste as the heroine. The air of the city was 
too strong, and she was removed to Bougeval, 

170 Driftwood of the Stage. 

in the south of France, but disease had fastened 
itself upon her, and she had to take to her bed. 

The engagement was postponed for a month, 
and, hoping against hope, whenever the man- 
agers called they were told that Miss Menken 
needed no rehearsal, but would do her best to be 
at the theater in good season. Being put off 
every time and unable to see her, the managers 
appealed to the law, and finally took with them 
two gendarmes to compel her to go to the last 
rehearsal. Demanding admittance to her 
chamber, her maid, opening the door, said: 
*'There she lies — it is too late now." Poor 
Menken had passed away that very day, August 
10, 1868. 

During the Franco-Prussian war, some years 
later, the Mont Parnasse Cemetery was often 
bombarded, and many tombstones leveled, but 
Menken's tomb remained untouched through- 
out. Her grave has got to be a sort of pilgrim- 
age to Americans visiting Paris, and many 
people of the stage have from time to time 
brought over little mementos from the grave 
and placed new ones there. 

Mrs. Edwin Forrest died at New York in 
189 1, and her grave is in Silver Mount Ceme- 
tery, Staten Island. Emma Vern is buried at 

Driftwood of the Stage. 171 

Leadville, Col., and a rough pile of stones placed 
there by professional friends marks her rest- 
ing-place. Lola Montez, best known as a 
danceuse, although at different times she had 
appeared in speaking parts and as a lecturer on 
spiritualism, after a life full of adventure passed 
away in a sanitarium at Astoria, N. Y., June 
30, 1861. In her earlier days she gave away 
fortunes to the needy, but died in poverty, and 
is buried in Greenwood Cemetery, Brooklyn, 
N. Y. Rachael Denvil is buried in Holy Cross 
Cemetery, Flatbush, Long Island. 

Gertie Granville was laid to rest in St. John's 
Cemetery, Worcester, Mass.; Eimily Stowe in 
Rural Cemetery, Albany, N. Y. ; Sadie Scan- 
Ion in Calvary Cemetery, Brooklyn, N. Y. 
Ellie Wilton is buried in the old cemetery at 
Flushing, L. I.; Anna Clay, at Reading, Pa.; 
Dorothy Wolfe, Winchester, Va., and Jessie 
May, LaSalle, N. Y. 

No monument of enduring marble, no tablet 
of everlasting brass, marks the spot where lie 
the remains of Margaret Mather. She sleeps 
in EJmwood Cemetery, Detroit, Mich., one of 
the most peacefully beautiful burial places in 
the country. On every side of her burial place 
there are beautiful and costly monuments, many 

172 Driftzvood of the Stage. 

of them marking the graves of those who were 
not known in life outside of their hmited circle, 
and are not remembered now by others man 
the members of their families. This makes all 
the more impressive the absence of any shaft 
by which to distinguish the tomb of this fine 

It seems the very irony of fate that in this 
beautiful city of the dead, where stately monu- 
ments and heroic statues greet one's eyes on 
every hand, there should have been no care to 
commemorate the fame and distinguish the 
grave of this princess of the stage. Her life 
was one of disappointment, her death perhaps 
a happy release, and now that of her which 
was mortal crumbles awav to dust, "the world 
forgetting, by the world forgot." Standing by 
the grave of Margaret Mather, noting the utter 
absence of any appropriate mark of commem- 
oration, and seeing on every hand beautiful and 
costly tokens of affection and admiration to 
mark the resting-place of far less distinguished 
persons, one is led to say, with Kipling : "Lord 
God of hosts, be with us yet, lest we forget, lest 
we forget." 

Caroline Richings Bernard died of smallpox 
at Richmond, Va., January 14, 1882, and was 

Driftzvood of the Sta^e. 173 

there buried. On Christmas Day, 188 1, she 
sang in the Kirst Baptist Church at that city, 
and that was her last public appearance. A 
singular and touching incident is told of her 
burial. On the day of her funeral a mocking- 
bird escaped from its cage in a distant part of 
the city, and though diligent search was made 
could not be found. As the last clods of earth 
were being thrown on the grave of the singer, a 
succession of trills and sweet warbling poured 
forth from the throat of a mocking-bird perched 
in a tree near by. It was recognized as the 
missing bird. At sundown it returned to its 
home and went back into its cage, which had 
been left open at the window. 

In Cypress Hills Cemetery, Brooklyn, N. 
Y., repose all that was mortal of Mrs. William 
Harris, who before her retirement to private 
life was known as Helen Revere. She was a 
liberal dispenser of charity, and died as she 
had lived, one of the most dearly beloved women 
in the profession. 

Alice Hastings is buried in Mt. Vernon 
Cemetery, Philadelphia, Pa.; Alice Montague- 
West, at Lancaster, Pa.; Grace Hunter, Berlin, 
Ohio; Grace Golden, New Harmony, Ind. ; 
Belle Archer, Hasten, Pa. ; Kate Castleton, Oak- 

174 Driftwood of the Stage. 

land, Cal. ; Patti Rosa, Chicago, 111. ; Etta Ed- 
munds Hill, Macon, Ga. ; Leonora St. Felix 
and Katie Hart, Brooklyn, N. Y. The remains 
of Helen Mora were cremated and the ashes in- 
terred in E.vergreen Cemetery, Brooklyn, N. Y. 

In the Catholic Cemetery at Craw fords ville, 
Ind., are the remains of Irma VonRokoy, the 
Austrian danceuse, whose life was crushed out 
in a terrible wreck which occurred on the Monon 
Route near that city. The hearts of the entire 
population seemed to go out in sympathy for 
this unfortunate lady in a strange land, and 
one of the largest funeral corteges ever known 
in that city followed her to the grave. Kate 
Hassett, who met with a sad and untimely death 
at Philadelphia, was laid to rest at Aurora, III., 
and Mabel Bouton at Salt Lake City, Utah. 

Emma Maddern Stevens, for nearly half a 
century an esteemed member of the profession, 
is buried in Woodlawn Cemetery, New York; 
Dolly Banks, in Mt. Pleasant Cemetery, To- 
ronto, Canada; Ella Jerome, Calvary Cemetery, 
Brooklyn, N. Y.; Carrie Fulton, Oak Hill 
Cemetery, LaGrangc, 111. ; Addie Boos, a favor- 
ite cornet soloist as well as an actress of merit, at 
Jackson, Mich., and Madeline Hardy in Wood- 
lawn Cemetery, Detroit, Mich. 

Driftwood of the Stage. 175 

Etta Butler died at New York. Her re- 
mains were taken to San Francisco, Cal., and 
cremated. The ashes were interred in the Odd 
Fellows' Cemetery at that place. Carmencita, 
the beautiful Spanish dancer, died of yellow 
fever at Rio de Janiero. Her remains were 
placed in a pine box fastened with an iron pad- 
lock, and without a prayer or ceremony of any 
kind, hastily deposited in a trench, which stood 
open ready to receive those who were rapidly 
dying of the dread disease. 

The grave of Belle Boyd, the famous Con- 
federate spy, furnishes a striking example of 
how soon and easily the world forgets. For 
her daring in conveying information to Stone- 
wall Jackson and other Confederates she was 
twice condemned to be shot. Several plays 
were written about her eventful career, and she 
was favorably known as an actress and on the 
lecture platform. She is buried at Kilbourn, 
Wis., on a sandy slope, and so unproductive 
is the land that not even vegetation usually 
found on dunes and desert wastes attempts to 
grow where the Confederate heroine sleeps. 
But two half-dead specimens of sage-like plants, 
of uncertain names, are growing on the grave 
at the foot of a small oak tree. 

176 Driftwood of the Stage. 

In Magnolia Cemetery, Beaumont, Texas, is 
tlie grave of Fatma Sing Hpoo, said to be the 
tiniest woman in the world. She was twenty- 
two years old, weighed but fifteen pounds, and 
was only twenty-eight inches high. She and 
her brother Smaun had been prominent in 
amusement circles for several years. 

In a well kept grave in Greenwood Ceme- 
tery, Brooklyn, N. Y., peacefully rests a once 
sweet singer and stage favorite. On her tomb- 
stone, together with her age and the date of 
her death, is inscribed, ''Ella Mayo, affianced 
wife of Tony Hart." Sadie McDonald died in 
Australia, and the people built a resting-place 
for her on a high knoll overlooking the Pacific. 
On her tombstone are the words, **Our Little 

Side by side in Woodlawn Cemetery, New 
York, sleep Minnie French (Mrs. Charles E. 
Evans), and Helena French (Mrs. William 
F. Hoey), long before the public as the French 
Twin Sisters, and in a handsome mausoleum in 
the little cemetery at Charlestown, N. H., in 
which the body of the famous playwright is at 
rest, were deposited the remains of Flora 
Walsh-Hoyt and Caroline Miskel-Hoyt. 

In the burial plot of the Actors' Fund of 

Driftwood of the Stage. 177 

America, in the Cemetery of the Evergreens, 
Brooklyn, N. Y., are the well kept graves of 
many stage favorites of bygone days. Here 
lies May Brookyn, whose sad death in Cali- 
fornia is well remembered, and whose remains 
were brought to the city of her birth for inter- 
ment. Near by, in the same plot, are buried 
many once well-known professional ladies, 
among whom may be mentioned the names of 
Louise Searle, Ada Gray, Eliza Young, Daisy 
Murdoch, Lucille Adams, Maud Haslam, 
Phyllis Morris and Carrie Howard. 
Peace be with them ! 


178 Driftwood of the Sta^e. 


An actor, stranded in a small mining town, 
was waited upon by a committee of miners. They 
told him that they intended giving a play for 
the benefit of some local charity, and had come 
to ask him to undertake the task of coaching 
the miners. The play was "Hamlet," and there 
were four aspirants to the role of Hamlet. One 
of these was a powerful Irishman, with a rich 
brogue; another, a corpulent German, with a 
decided dialect ; one a Yankee, with pronounced 
nasal tones, and the fourth equally unsuited for 
the part he wished to play. The actor called 
the four men together, and informed them that 
there were five acts in "Hamlet," and proposed 
that he, as a professional, should take the act 
most difficult to perform, thus leaving an act 
for each one of the four. The proposal was 
accepted. The play was given to a large and 
most enthusiastic audience, while the financial 
success exceeded all expectations. But the next 
morning the one small newspaper of the town 
contained the following: 

Driftwood of the Stag^e. 179 

"The play of 'Hamlet' was given last evening 
by our amateur dramatic company. It has long 
been a question as to v^hether Shakespeare or 
Bacon was the author of this play. It can now 
be definitely ascertained. Let the graves of 
both men be opened. He who shall be found 
to have turned in his grave is the one who 
wrote 'Hamlet.' " 

"Hamlet" has been played in many languages, 
by actors of all ages, and of both sexes, with 
elaborate scenery and with no scenery at all. 
It has been burlesqued and sung as an opera; 
and its representatives have been good, bad and 
indifferent. History tells that Lewis Hallam 
was the original Hamlet in America, playing 
the part at Philadelphia in the autumn of 1759. 
The tragedy was presented for the first time at 
New York by the same gentleman, November 
26, 1761. 

John Howard Payne has the distinction of 
being the first American Hamlet who was born 
in America. He played Hamlet at the Park 
Theater, New York, in May, 1809, being but 
seventeen years of age at the time. Other 
juvenile tragedians have been seen in the part, 
notably Master Joseph Burke, who played it 
at Dublin, when he was five years old, and re- 

i8o Driftwood of the Stage, 

cognized as a star in this country in ''Hamlet" 
when he was twelve. 

The name of a lady is occasionally found in 
the titular part of this play. The most suc- 
cessful of these was unquestionably Charlotte 
Cushman. Among the many other lady Ham- 
lets were Anna Dickinson, Louise Pomeroy, 
Mrs. F. B. Conway, Adele Belgarde and Julia 

It is not possible in a single chapter to men- 
tion the names of the hundreds of Hamlets who 
have appeared on the American stage. The 
tragedy has been played in every important 
town in the Union, and hundreds of thousands 
of persons have witnessed and appreciated its 

Chicago gave to the world the first ''Hamlet" 
acted wholly by women, from prince to page, 
from ghost to soldiers, and also the first "Ham- 
let" intended to demonstrate Shakespeare's mis- 
take in massacring the cast in the last act. It 
was Shakespeare for auditors of the most 
squeamish sensibilities. There was no horrid 
visible ghost to elicit feminine screams, there 
were no killings on the stage, and the play was 
ended with the grave-digging scene, and just 
before the dreadful carnage by which Shakes- 

Driftwood of the Stage, i8i 

peare disposed of the chief characters. Accord- 
ing to this version, Hamlet and his mother 
kissed and made up and all lived happy ever 

That there might be no more tragedy than 
necessary, Polonius was allowed to be killed 
with almost no confusion, and it is doubtful 
if any but the closest observers in the audience 
was aware that a foul deed had actually been 
committed. Hamlet was lecturing his mother 
when he noticed that some person was in hiding 
behind the curtains. Stepping to the door 
he drew his dagger and reached behind the 
curtain as if handing the weapon to some one. 
Then he withdrew it, walked back, and pre- 
sently Polonius, from behind the scenes moaned 
out the fact that he was murdered. Then the 
Queen and Hamlet proceeded with the inter- 

This same city introduced Charles Winter 
Wood, a gentleman of color, ^ in the role of 
Hamlet, supported by a company composed en- 
tirely of colored people. 

Many players have deserved capital punish- 
ment for murdering Hamlet, but until quite 
recently the Prince of Denmark had escaped 
being placed on trial on the serious charge of 

i82 Driftwood of the Sta^e. 

killing King Claudius. Under the criminal 
code of the State of Iowa the lapse of time since 
the commission of the crime is immaterial, as 
there is no statute of limitation with respect to 
offences against the lives of persons. Members 
of the law class of the University of Iowa began 
criminal proceedings in January, 1903, and 
Hamlet was indicted for murder in the first 
degree by a true bill returned by the University 
grand jury on February 20, of the same year. 
The case came up in the junior law court of the 
University, presided over by Justice Deemer 
of the Iowa Supreme Bench, and the proceed- 
ings were conducted with all the solemnity of a 
regular criminal trial. Hamlet pleaded not 
guilty to the indictment, and set up a defense 
of insanity. 

The brightest members of the law class were 
concerned in the prosecution and defense of the 
defendant, and Shakspearean scholars and alien- 
ists of reputation were the witnesses examined 
during the trial. 

The jury was unanimous in its opinion that 
Hamlet was not insane when he murdered King 
Claudius. On the question of justification 
through self-defense, there was a divergence of 
opinion. After standing evenly divided for 

Drifizvood of the Sta^e. 183 

twenty hours, the jury finally agreed that Ham- 
let, Prince of Denmark, was guilty of man- 
slaughter when he killed King Claudius, and 
should be resting behind prison bars instead of 
being king of the stage and hero of literature, 
and rendered a verdict to that effect. 

Dr. Landis, an odd character, who had strange 
ideas as to his ability as a tragedian, played an 
engagement at Horticultural Hall, Philadelphia, 
in 1883, supported by a company of amateurs. 
His audience was almost exclusively composed 
of males, who found no excuse too trifling for 
their merriment, no jest too coarse, no uproar 
too loud. He represented Hamlet with a long 
black beard, and his appearance, speech and ac- 
tion were so ludicrous that the audience burst 
into laughter before he had been on the stage 
five minutes. All through the performance the 
audience talked back to Hamlet. Every time the 
curtain went down there were cheers, screech- 
ing, whistling and Indian war-whoops. The 
police were called upon to quiet the disturbers, 
and were compelled to eject a number from the 
theater. His audience pelted him with vegeta- 
bles and decayed fruit so unmercifully, that at 
the next performance a wire netting was used to 
prevent the players from being struck by flying 

184 Driftwood of the Stage. 

missiles and protect the scenery. At the closing 
performance a drum and fife corps played nearly 
all through the evening, and this, with the sing- 
ing of popular songs by the audience, prevented 
the players from being heard, so the curtain was 
rung down and the house cleared by the police. 

George, the Count Joannes, as he chose to 
style himself, supported by his pupil, Avonia 
Fairbanks, and a dramatic company, began an 
engagement at the Lyceum Theater, on Four- 
teenth street, near Sixth avenue, New York, 
February 4, 1878. A repertoire of plays were 
given which included "Romeo and Juliet,'* 
"Othello," "Richard III,'" "King Lear" and 
"The Lady of Lyons." The Count selected 
February 18 for his benefit and "Hamlet" was 

The house was crowded and for three hours 
no more disgraceful scenes were ever witnessed 
in an American theater. When the Count came 
on as Hamlet he was greeted with three cheers 
and shrieks of laughter. The actors were guyed 
unmercifully, and the Count would occasionally 
walk down to the footlights and when he could 
be heard, defend them from the gibes and ridi- 
cule of the audience. As the grave-digger pro- 
ceeded with his work they sang "Down in a 

Charlies J. Ross— Mabe;i, Fknton. 

Driftzvood of the Sta^e. 185 

Coal Mine." Occasionally some one would yell 
*'Who is Count Joannes?" and the whole house 
would recite in concert, "First in War, First fn 
Peace, and First in the Hearts of His Country- 
men." When those in the house felt like sing- 
ing they did it with a will, and the performance 
was for the most part a dumb show. Vegetables 
and other things were thrown at the players and 
at one another in the audience, and several 
times the police were called upon to preserve 
order and prevent the performance from break- 
ing up in a general row. 

James Owen O'Connor gave a performance 
of "Hamlet" at the Star Theater, New York, 
April 9, 1888. His impersonation of the Dane 
seemed so absurd to the audience that most of 
the dialogue was lost in peals of laughter. He 
made a speech which was given three hearty 
cheers. Cabbages and boquets of pie-plant were 
thrown at him, and uncomplimentary remarks 
made as to the ability of the players. The audi- 
ence though noisy was good natured, and noth- 
ing was done that called for interference by the 
police. Mr. O'Connor was a few years later 
taken to an insane asylum, where he died March 
31, 1894. 

Stuart Robson appeared as Hamlet at the 

1 86 Driftwood of the Stage, 

Olympic Theater, New York, in November, 
1866, in a burlesque entitled ''Hamlet, or Wear- 
ing of the Black." Edwin Forrest used to play 
Hamlet, Virginius, Metamora and like charac- 
ters, with side whiskers, moustache and goatee. 
At one time E. L. Davenport wore side whis- 
kers when playing Hamlet, and Charles Fechter 
wore a moustache and chin whiskers in the 
same role. 

This may sound strange to the present gener- 
ation, as it is many years ago that the news- 
papers and billboards of New York announced 
the appearance of the genial Tony Pastor as 
Hamlet, each evening, with the customary mati- 
nees, at his theater, then situated at 201 Bowery. 
Tony was not alone in the production of "Ham- 
let" that season, as it was being played at sev- 
eral theaters in the city at the same time. 

The presentation of this play at so many dif- 
ferent theaters at one time had a tendency to 
bring to mind the epidemic of "Hamlet" that 
passed over New York in the years 1857 and 
1858. Barry Sullivan and McKean Buchanan 
appeared as Hamlet at the Broadway Theater; 
James Stark and the elder Wallack at Wallack's 
Theater; Edward Eddy at the Bowery Theater, 
and Charles C. Hicks, James E. Murdoch, E. 

Driftwood of the Sta^e. 187 

L. Davenport and Edwin Booth at Burton's The- 
ater. During the same season at Burton's 
Theater John Brougham played Hamlet with a 
brogue. William E. Burton was the Ghost, 
Lawrence Barrett the Horatio, and Mark Smith 
played Ophelia. At this theater in May, 1857, 
John M. Hengler, a prominent young tight-rope 
walker, astonished the town with a representa- 
tion of Hamlet, which was not, however, re- 

It was on January 10, 1870, that Charles 
Fechter, the great French tragedian, made his 
first appearance in America, acting in "Ruy 
Bias," at Niblo's Garden, New York. Edwin 
Booth was at the time acting Hamlet at his own 
theater, then situated on the southeast corner of 
Sixth Avenue and Twenty-third Street. 

It is doubtful if the acting of any one, native 
or foreign, in the whole history of the American 
stage, has been the subject of so much or such 
varied criticisms as was Mr. Fechter. Those 
who were his admirers were enthusiastic in his 
praise; those who did not like him w^ere un- 
sparing in their condemnation and ridicule. The 
press of the city criticised Mr. Fechter's acting 
quite freely, and the Frenchman foolishly ac- 
cused Mr. Booth and his friends of being re- 

i88 Driftzvood of the Stage. 

sponsible for every adverse criticism. Mr. Booth 
generously offered to stand aside and allow Mr. 
Fechter to take his place. The French tragedian 
declined the offer, himself appearing as Hamlet 
on February 15 of the same year. 

George L. Fox, who made clowning a fine 
art and was then in the height of his career, 
shortly afterward produced a burlesque of this 
play at the Olympic Theater, Broadway near 
Bleecker Street, which had a long and prosper- 
ous run. It was perhaps more a burlesque of 
Edwin Booth, after whom in the character he 
played and dressed, than of "Hamlet." While 
Mr. Fox at times was wonderfully like Mr. 
Booth in attitude, look and voice, he would sud- 
denly assume the accent and expression of Mr. 
Fechter, whom he counterfeited admirably. To 
see him pacing the platform before the Castle 
of Elsinore, protected against the chilly night 
air by a fur cap and collar, red mittens and 
arctic overshoes over the traditional costume of 
Hamlet, to hear his familiar conversation on 
local topics with the Ghost, and his mild pro- 
fanity when commanded by the Ghost to 
"swear" was a ridiculously enjoyable piece of 
acting. Mr. Booth saw this caricature of his 

Driftwood of the Stage. 189 

Hamlet, and is said to have enjoyed it im- 

Then the vaudeville folks took it up, and Add 
Ryman gave an abbreviated version of it at the 
Theater Comique, 514 Broadway. The min- 
strel halls also presented negro acts with such 
titles as "The Black Hamlet," ''Hamlet, the 
Dainty," and "The One Hundredth Night of 

Mr. Pastor at the time he gave to the public 
his idea as to how "Hamlet" should be played, 
was surrounded by a fine company who rendered 
valuable aid in making the production at his 
house a success. The lines that were given him 
were correctly spoken, and his chubby form was 
neatly draped in black silk and velvet. Others 
in the cast, however, seemed to have ideas of 
their own as to dress, and Nelse Seymour, who 
played the Ghost, supplemented his already tall 
figure by wearing a high silk hat. The grave- 
digger in this production seemed to work "ad 
lib," and with his spade would throw on the 
stage an assortment of bric-a-brac, such as tin 
cans, stove-pipes, hoop skirts, etc., while he 
sang the song, "Any Ornaments for Your 
"Mantelpiece." The other parts were well dis- 
tributed, the important role of the First Actor 

190 Driftwood of the Stag^e. 

being intrusted to Jimmy Bradley, a song and 
dance man. Joe Braham furnished incidental 
music to suit the occasion, and which always 
brought on the fair Ophelia to the then popular 
air of "Walking Down Broadway." 

The soliloquy of these burlesquers was made 
up largely of local topics. Mr. Ryman, gaz- 
ing intently on the skull in his hands, would 
begin his version of it as follows : 

"Another Hamlet! 

Who can it be? 

Is it Booth, Fechter, or Fox, the sly one, 

Tony Pastor, or Addison Ryman?" 

Drifizvood of the Staf^e. 191 


In the year 1868 the theatrical world was 
startled at the news that James Fisk, Jr., had 
purchased Pike's Opera House, erected by 
Samuel N. Pike, of Cincinnati, on the corner of 
Eighth Avenue and Twenty-third Street, New 
York, for the sum of $820,(X)0. Up to that 
time Mr. Fisk had been known only as a 
shrewd speculator on the stock market and by 
his connection with the Erie Railway. A few 
years before he was satisfied to travel with Van 
Amburgh's Menagerie, his occupation being to 
help put up the canvas and act as caretaker of 
the wild animals. His employer recognizing 
his tact, advanced him to the somewhat more 
elevated position of ticket seller, and as such he 
traveled with this show for eight years. 

He renamed his purchase the Grand Opera 
House, and a little later purchased from H. L. 
Bateman his interest in opera bouffe. He lav- 
ished money on the theater in a wonderful 
manner, doing many really meritorious things 
to make it a first-class place of amusement. He 

192 Driftwood of the Sta^e. 

made it his own headquarters as treasurer of 
the Erie Railroad. Its history after it came 
into his possession cannot now be written. For 
a time the name of Jay Gould appeared as one 
of the proprietors. On March 31, 1869, "The 
Tempest" was produced in magnificent style, 
wdth E. L. Davenport, Frank Mayo, F. C. 
Bangs, and others, of equal merit, in the cast. 
At that time the name of James Fisk, Jr., first 
appeared as proprietor, and Clifton W. Tay- 
leure as manager. 

Many were the strange scenes which com- 
mon report had placed at this theater. One 
famous scene was the personal encounter be- 
tween himself and one of his agents, Mr. 

Beside this establishment, in which he took 
great pride, Mr. Fisk purchased the building 
on Twenty-fourth Street, adjoining the Fifth 
Avenue Hotel, and fitted up one of the pret- 
tiest theaters, small, but bright and brilliant, 
that New York had ever seen. This building 
had been previously used as a minstrel hall by 
Griffin and Christy's Minstrels. He called it 
Brougham's Theater, and it was opened by 
John Brougham on January 25, 1869. In the 
course of two months Mr. Brougham retired 

Driftwood of the Sta^e. 193 

from the management and Mr. Fisk assumed 
the management himself, producing opera 
bouffe, Mile. Tostee and her company being 
the attraction. In August, 1869, it was opened 
by Augustin Daly and continued under his 
management until destroyed by fire on January 
I, 1873. On that New Year's day, within an 
hour after the matinee performance, the cosy, 
pleasant little theater was burned to the ground, 
a total and complete wreck. Mr, Daly and his 
company had the sympathy of all, as this theater 
had been the scene of so many triumphs of 
many public favorites that the whole city was 
deeply stirred by the news of the disaster. The 
house was called by Mr. Daly the Fifth Avenue 
Theater, and opened with a comedy called 
"Play," with E. L. Davenport, Agnes Ethel 
and others in the cast. The company and the 
management were at once a pronounced suc- 
cess, and Mr. Daly entered into a career of 
popularity and prosperity that lasted as long as 
the house remained to him. The last play ever 
performed on its stage was "New Year's Eve, 
or False Shame." It was at this house that 
Clara Morris made her first bow to a New 
York audience in "Man and Wife." 

Beside his theatrical, financial and social suc- 


194 Driftzvood of the Sta^e. 

cesses, Mr. Fisk had aspirations to military and 
naval honors. Already an admiral of the 
Sound and Long Branch fleets, he sought a 
military command. The colonelcy of the Ninth 
Regiment of the National Guard was tendered 
to him, and he accepted it. By lavish expendi- 
ture of money he soon raised it to a high grade 
of merit, and it was known everywhere for its 
fine uniform and its peerless band, that became 
known as "Colonel James Fisk, Jr.'s, Ninth 
Regiment Band." For years Graffula's Seventh 
Regiment Band had been the leading military 
band of New York. It was composed of fifty 
men and was considered a large band in those 
days. D. L. Downing, a well-known band- 
master, was given authority to organize a band 
to consist of one hundred of the best musicians 
obtainable, and in addition to many performers 
of note, Jules Levy, then at the height of his 
career, was engaged as cornet soloist. It was 
said at the time that he received $io,0(X) a year 
for his services. 

The first public appearance of this band in 
their brilliant uniforms of scarlet and gold 
created a sensation. Mr. Levy was given a 
prominent place in the formation and played 
on a gold instrument embellished with dia- 

Driftwood of the Sta^e. 195 

monds and other precious stones. The regi- 
mental drum corps, composed of thirty picked 
men, was taught to play in unison with the 
band, and when the 130 musicians played to- 
gether a fine effect was produced. 

Sunday night concerts were given at the 
Grand Opera House by this band. Colonel Fisk 
showed his interest by occupying a stage box 
at each performance. The finest vocalists as- 
sisted at these concerts. Among them were 
Signorita Farettee, Emma Cline, Miles. Cas- 
telan and DeTry. Mr. Levy's cornet solos 
were always one of the features of the bill. Carl 
Bergman was the conductor, and Mr. Downing 
was the band leader. One Sunday evening a 
quartette from Bryant's Minstrels, composed of 
Messrs. Templeton, Dwyer, Oberist and Sliat- 
tuck, were introduced at the band concert. It 
was a little bit out of the ordinary, but they 
made a decided hit. 

This regiment took a prominent part in the 
Orange riot, which occurred at the city of New 
York, July 12, 1871. The Orange societies 
were refused permission to parade that day by 
A. Oakey Hall, at that time mayor of the city. 
Public opinion was against this action, and an 
appeal was made to Governor John T. Hoff- 

196 Driftwood of the Sta^e. 

man, who not only gave the desired permission, 
but also ordered the First Division of the Na- 
tional Guard under arms for their protection if 
necessary. More than 5,000 armed soldiers 
and policemen escorted a body of less than forty 
Orangemen who were determined to march. The 
procession had not moved far when an attack 
was made on the military, and the Ninth, which 
was near the head of the column, were given 
orders to fix bayonets and charge the mob. In 
the sharp fighting which ensued many lives were 
lost, while the list of wounded never became 
known. In the Ninth three were killed and 
eight wounded, among the latter being Colonel 
Fisk. Two of the killed were Walter Prior and 
H. C. Page, both members of the theatrical pro- 

Colonel Fisk was a fine-looking man. There 
was always color in his cheeks, and his blonde 
hair crisped itself into small waves right from 
its very roots. Seldom was there a temper so 
sunny and a heart so generous. His blue eyes 
danced with fun and no one could talk five min- 
utes with him without being moved to laughter. 
He loved the theater and its people. At each of 
his theaters he reserved a box for his personal 
use, and when he occupied it was always sur- 

Driftzvood of the Sta^e. 197 

rounded by a smiling, animated party of friends. 

When the news of the great fire at Chicago, 
October g. 187 1, reached him, he offered his 
theaters, his companies, and his band for benefit 
performances. And he did more. He sent out 
a special relief train over his road, loaded with 
flour, provisions and necessaries for the suf- 
ferers. All tracks were cleared for this train, 
which was the first relief train to reach that city. 
When an appeal was made for clothing for those 
who had lost all, out came the beautiful team of 
jet black horses that he drove in the park. They 
were hitched to a great white express wagon of 
the Erie company, and driven by him from door 
to door, stopping wherever a beckoning hand 
appeared at a window. Bundles of clothing, 
boxes of provisions; anything, everything, that 
people would give he gathered up, with brief, 
warm thanks and the raising of a velvet cap he 
wore. Personally, he gathered up carloads of 
goods that were rushed to the express office for 
proper sorting and packing, and sent by fast 
trains to the terror-stricken, homeless Chica- 

On Saturday afternoon, January 6, 1872, 
about half-past four o'clock. Colonel Fisk's 
private coach drew up in front of the Grand 

198 Driftwood of the Stage. 

Central Hotel, on Broadway, opposite Bond 
Street. It was about the time that New York's 
great thoroughfare presents the pleasantest sight. 
Men of business were walking leisurely home- 
ward, ladies lingered among the glories of the 
stores, and many carriages lined the curbstones. 
Colonel Fisk had left his carriage, and, entering 
the vestibule of the hotel, was going up the steps 
that led into the hall. As he neared the top two 
shots were fired at him by a concealed assassin. 
One struck him in the left arm and another im- 
mediately after striking in the abdomen. Two 
more shots were fired at him but took no effect. 
The news of the shooting spread like wildfire. 
As the particulars became known the excitement 
grew intense. The good qualities of the man 
were alone remembered. The news had a damp- 
ening effect on the gay spirits of the attaches 
of the Grand Opera House, and the excitement 
among the actors was not less intense. It was 
proposed at first to suspend the play, but as a 
great number of tickets had been sold, it would 
have given dissatisfaction to many patrons of 
the house, and it was decided to let the play go 
on. The audience was fair in number, but it 
is doubtful if "The Colleen Bawn," which Mr. 
and Mrs. W. J. Florence were playing that 

Driftwood of the Sta^e. 199 

night, ever received a more mechanical repre- 
sentation or was ever presented to a less appre- 
ciative audience. The players went through 
their lines as if they were performing a task, and 
when off the stage congregated in the wings and 
dressing rooms to discuss the latest intelligence 
from the wounded man. At the close of the 
performance the actors quitted the scenes in 
which they had no heart, and directly the last 
scene ended the Grand Opera House was left 
dark and deserted and the theater was closed 
until after the funeral. 

At half-past eight in the evening a consulta- 
tion of physicians was held and it was decided 
.that nothing could be done for the dying man, 
and at a quarter to eleven without a struggle he 
passed from earth. The information of his 
death was flashed to every part of the country 
and created a profound and startled impression 
among all classes. The excitement, comment 
and general interest occasioned by the slaying of 
a prominent man in the full possession of health 
and wealth, and almost everything else rendering 
life desirable, became the theme of conversation 
in all parts of the land. Not since the death of 
President Lincoln had the demise of any one 

200 Driftzvood of the Sta^e. 

man seemed to excite so much public attention 
and comment. 

The funeral services over the body of Colonel 
Fisk, on Monday, January 8. 1872, attracted 
one of the largest crowds ever assembled togeth- 
er at that city. When it became known the re- 
mains would lie in state in the Grand Opera 
House, that neighborhood was crowded with 
sight-seers representing every grade of society 
anxious to get a glimpse of all that remained of 
a man whose history had been so remarkable. 
Here the scene was one long to be remembered. 
Over the Grand Opera House floated at half- 
staff the national ensign. The front of the gal- 
lery in the interior of the building was festooned 
with black and white satin rosettes, while over 
the entrance to the private office of the deceased 
was a handsomely engraved portrait of him in 
full uniform as colonel of the Ninth Regiment. 

A little after eleven o'clock the body was borne 
to the bier prepared for its reception in the vesti- 
bule of the theater. It was clothed in full regi- 
mentals, the cap and sword resting on the body. 
The public w^re then admitted to view the re- 
mains. Entering by the Twenty-third Street 
entrance the spectators filed in a long line past 
the casket, and passing through the building left 

Driftwood of the Sta^e. 201 

by the door opening on Eighth Avenue. 
Among the first to be admitted to take the last 
look at the dead were those connected with the 
Grand Opera House. 

The Episcopal burial service was read by 
Chaplain Flagg of the Ninth, who announced 
that the funeral services would be concluded on 
the following day at Brattleboro, Vt. At two 
o'clock the coffin was closed, draped with the 
American flag and borne by the guard of honor 
to the hearse. Shortly «f ter the procession start- 
ed from the Grand Opera House. At this point 
of the proceedings the scene was a most impress- 
ive one. Every available spot from which the 
procession could be viewed was occupied, while 
the solemn stillness that prevailed added to its 
solemnity. The procession was a large one, and 
the column moved through Twenty-third Street 
and Fifth Avenue to the New Haven depot on 
Twenty-seventh Street, where the Madison 
Square Garden now stands, and on arrival there 
the remains were placed on the cars to be taken 
to Brattleboro, Vt., for interment. 

And thus passed from sight the mortal re- 
mains of one who had been a vast power, but 
that power was no more. 

202 Driftzvood of the Sta^e. 


The most objectionable feature in theatrical 
life is in playing the so-called one-night stands. 
Not so for lack of patronage, as the audiences 
may be large and appreciative, but on account of 
the stuffy, ill-ventilated opera houses and town 
halls, unclean dressing rooms, and other uninvit- 
ing surroundings, to say nothing of the annoy- 
ance of railroad travel at unseemly hours in or- 
der to make the next town. The performance 
over at eleven, then to a railway waiting room 
for a train that comes through about midnight 
and carries you to a junction a few miles distant, 
where after a tedious wait you are liable to be 
bundled into a caboose attached to the rear of a 
freight train and thus finish your journey, which 
may take far into the next day. Something may 
occur that will necessitate a rehearsal that after- 
noon, and by night you are in no condition to 
give a performance that will please an audience, 
the management or yourself. There is nothing 
in the world that will disorganize a first-class 
company quicker than a week or two of one- 

AI.ICE Fischer. 

Driftwood of the Sta^e. 203 

night stands, and there is nothing looked upon 
with such disfavor by the entire profession 

It does not take long for the advance agent of 
a company to discover whether the local manager 
takes a personal interest in the theater, or if it is 
simply run as a side issue. If the manager gives 
the place his personal attention it is proof that he 
realizes there is something at stake, will work up 
interest in the newspapers and secure a proper 
showing for the advertising matter. Should the 
place be run by incompetent employes the agent's 
work is much harder, as he must see his paper up 
and have his heralds distributed before he can 
safely leave town. He knows full well that 
many tons of valuable printing that should have 
been placed on the wall or otherwise distributed 
has been burned up or destroyed in some way, 
and thousands of dollars worth of lithographs 
held out and sold to "pirates." 

It is by such means that the "pirate" thrives. 
He stays in the smaller one-night stands, not 
daring to come out into the light of the larger 
ones for fear his nefarious business will be re- 
cognized and he will be prosecuted. Utterly de- 
void of honor or decency he will steal anything 
that can be played by his company, and then add 

204 Driftwood of the Sta^e. 

insult to injury by advertising the play in out-of- 
the-way places with stolen printing. 

The local manager is alone to blame for these 
irregularities. If he can find no time for his 
theatrical interests himself, he should place them 
in charge of responsible men. He takes great 
pride in his business standing and his high rating 
by the commercial agencies. A complaint of 
unfair treatment at his place of business during 
the day will receive his personal attention and the 
offender censured or discharged, yet at his the- 
ater the same night a watch must be put on every 
entrance, and sometimes even at the stage door, 
to prevent fraud. His horses are well fed and 
watered, but no drinking water will be found on 
his stage for the thirsty actor or working force. 
If the stage manager of the company should ask 
for water for his people, the house property man 
generally knows where he can borrow a pail and 
dipper for two "comps." If the tickets are 
forthcoming, he gets the pail and dipper from his 
own home and sells the "comps." to some one on 
the way to the theater. 

New schemes are always on foot for beating 
the ticket box. The tube for shooting tickets 
from the balcony to the box ofifice, and the false 
bottom ticket box are things of the past. It was 

Driftwood of the Sta^e. 205 

in a small Iowa town that a new one was discov- 
ered. After the rush was over the ticket seller 
stepped to the door of the box office and asked 
the man on the door for a cigarette. A cigar- 
ette box was thrown to him, he stepped back mto 
the office, and came out shortly with a lighted 
cigarette in his mouth and threw back the box. 
Soon after a request was made for another cigar- 
ette, and the box was again thrown. The mana- 
ger felt like smoking about that time, and as the 
box whizzed through the air put up his hand and 
caught it. He was somewhat surprised on open- 
ing it, for instead of cigarettes he found seven- 
teen one dollar tickets. 

And then there is the music that is furnished 
in the small towns. If the house has no orches- 
tra, a worn-out piano will be found that is never 
in tune. The manager answers complaints by 
saying that every musician who comes along 
wants to tune the piano and each one changes the 
pitch. The musical director can readily find out 
the merit of the orchestra furnished, and if he 
can do nothing with it imparts the information 
that he will play the show alone if they will fur- 
nish the music for the overture and between the 
acts. This they will readily agree to do, and 

2o6 Driftwood of the Staf^e. 

many times by so doing the performance is 

The leader of the town brass band will call on 
the manager and offer the services of his men to 
play outside for free admission to the theater. 
There is nothing to be lost on this and he is al- 
most always given the contract. The band it- 
self is generally composed of from fifteen to 
twenty men, but when it comes time to admit 
them you will find nearer fifty. Each musician 
has a boy to hold his music on such occasions, 
and even though they are playing beneath a num- 
ber of electric lights, beside each man will be 
found a young fellow holding a smoky, foul- 
smelling torch, not so much for the purpose of 
furnishing light as the means of gaining admit- 
tance to the theater At times when there is no 
house orchestra the brass band will furnish music 
between the acts, and the eflFect in a small house 
can be imagined by those who have never 
heard it. 

Without a doubt the oddest character met in 
the smaller towns is the hotelkeeper, and some of 
the choicest of an actor's reminiscences concern 
the sayings and doings of the country landlord. 
When a company comes along he wants the peo- 
ple at his house, and as a rule will do all he can 

Driftwood of the Sta^e. 207 

for their comfort, for he is generally a good fel- 
low. But he is continually doing outlandish 
things. Two actors stood in front of one of these 
hotels and the landlord stepped out and fired 
a charge from a double-barreled shotgun in close 
proximity to them. One asked the reason for 
shooting and was told it was a notification that 
dinner was ready. The other sarcastically in- 
quired why he did not shoot off the other barrel, 
and received this reply : ''There's a show troupe 
in the house and I am keeping that to collect 

The hardest thing to contend with in the one- 
night stand is the procuring of supernumeraries. 
The young men of the town, even those with 
theatrical aspirations, and who take part in all 
the entertainments given by amateur talent, think 
it beneath their dignity to appear as auxiliaries 
in the support of any one, no matter how fa- 
mous. This makes it necessary to enlist the ser- 
vices of an undesirable class, who take part only 
for the purpose of seeing the performance and 
receiving pay for it. Long before the curtain 
rises they are dressed for their parts, and stand 
in the wings in the way of everybody. Actors 
who wish to make an entrance or exit are forced 
to push their way through, as the supernumerary 

2o8 Driftwood of the Stage, 

feels his importance in the toga of a Roman sen- 
ator or the uniform of the king's guard. 

No matter how carefully they have been in- 
structed in their duties at rehearsals, they never 
do it properly during a performance. The 
scenes they have spoiled and the tears they have 
caused! Many a fine actress has been taken to 
her dressing room on the verge of collapse as the 
curtain descended on a climax that deserved the 
plaudits of the audience and a curtain call, and 
through the carelessness of these persons had 
been turned into a howl of derision. 

Some of these fellows seem to think this is the 
time to show that they have a vein of humor in 
them, and will play tricks on each other in the 
dressing room and on the stage. If they have a 
grudge against any of the others this seems to 
be the right time to get even. One sad instance 
happened in a one-night stand during a perform- 
ance of ''Henry V." One of the supernumeraries 
had a deep grudge against another supernumer- 
ary, and he planned only too well to publicly 
humiliate his foe. When the supernumeraries 
were both on the stage, and while the star was 
declaiming one of his best speeches, one of the 
supernumeraries suddenly gave a yell and started 

Driftwood of the Sta^e. 209 

across the stage on a furious run, pulling at his 
wig with both hands as he ran. 

The scene was, of course, almost spoiled, for 
the audience laughed at the crazy antics of the 
supernumerary rather than listened to the read- 
ing of the star. An investigation showed that 
the supernumerary who bore the grudge against 
his colleague had stood close behind his enemy 
and in the midst of the scene had leaned over 
and whispered shrilly into his ear: "Oh, Bill, 
your wig's on fire !" Whereupon, the unfortun- 
ate, frightened half to death, had taken to his 
heels and run for safety. 

The local pride of these small towns is won- 
derful. When one of its young men or women 
leaves for a theatrical career they keep close 
track of them. Those who are successful send 
press notices of their advancement to the local 
papers who are only too glad to print them. 
Those who do not meet with success do not 
want their fellow-townsmen to know it, and if 
lost sight of inquiries are made of visiting com- 
panies as to the missing one. 

If one of their number should gain much 
prominence in the profession, every theatrical 
person who comes along is sure to hear it. At 
Tremont, 111., they point with great pride to 


2IO Driftwood of the Stage. 

the fact that Louis James was born and raised 
there, and it is doubtful if any one in the amuse- 
ment line ever visited Pontiac, Mich., without 
being informed that James A. Bailey was a 
native of that place. Youngstown, Ohio, wants 
the world to know that Henrietta Crosman 
started on her search for fame from that place, 
and at Hicksville, Ohio, the Swilly House is 
pointed out as the former home of Amelia Bing- 
ham. At times the natives will get confidential 
and give the names by which they were known 
before adopting the stage, and very often relate 
stories of their school days. Nine times out of 
ten they have them at the foot of the class or 
deficient in their studies. 

The small town feels honored if a company 
elects to open their season with them, and will 
always do their best to get them a good house. 
If the company rehearses there so nuich the 

When Madame Janauschek was at the height 
of her American career, it suited her manager 
one season to begin the tour at Syracuse, N. Y. 
The wily press agent went to the city a week 
or two in advance of the opening night and pro- 
ceeded to impress upon the newspaper repre- 
sentatives of local theatricals the sublime signifi- 

Driftwood of the Sta^e, 211 

cance of madame's alleged great oath that she 
would open at Syracuse or cancel her entire 
season. Her manager wanted Chicago, but for 
the sake of peace he would compromise on New 
York, Boston or Philadelphia. Nothing would 
move Janauschek from the rock of her determin- 
ation to get the advantage of the well-salted 
Syracuse intellect. 

Naturally, and very properly, the Syracusans 
were fired with patriotic pride in the implied 
compliment, and the tragedienne got column on 
column of laudatory advance work. The result 
was a really brilliant opening night. Between 
acts an ambitious local newspaper man went on 
the stage to have an interview with Brunhilde. 
"Madame," he said, with a bow, "Syracuse feels 
proud that you elected to begin your tour here, 
and my paper would like to tell the public for 
you the reason for so honoring us." 

"My Gott !" exclaimed the imposing Madame, 
"I had to open somewhere!'* 

It would never do to overlook the lady found 
in every one-night stand who knows all about 
theatricals. She never misses a performance, 
and boasts of the fact that she never paid to 
see a show in her life. She gives theater parties 
with billboard tickets, and introduces her guests 

212 Driftzvood of the Sta^e. 

to the man on the door, whether she knows him 
or not. She calls all players by their first names, 
and if she has a story about them, is not over 
particular as to its truth. A self -constituted 
authority on the merits of plays and players, as 
well as their salaries, tends to make her much 
of a nuisance to those who happen to be seated 
near her. 

Some years ago the theatrical folks who at 
that time made Mt. Clemens, Mich., their sum- 
mer home, gave a benefit performance for one 
of their comrades who had long been an invalid. 
Among those who volunteered their services 
were Charles J. Ross and Mabel Fenton, who 
presented their travesty, which concluded with a 
scene from "Virginius." A little later, when the 
regular season opened, a well-known actor 
visited the town, and presented James Sheridan 
Knowles' tragedy of "Virginius." The house 
was crowded, and the play well received. Vir- 
ginius, after stabbing his daughter to save her 
from the polluting touch of Appius Claudius, 
stands over her dead body holding aloft the 
bloody knife. Appius commands his at- 
tendants to seize him. The frenzied father 
shrieks in tones of desperation : 

Driftzvood of the Sta^e. 213 

"If tliey dare 
To tempt the desperate weapon that is maddened 
With drinking my daughter's blood, why let them. 
Thus it rushes in amongst them! 
Way there! Way!" 

Then dashing at the advancing attendants he 
cuts his way through and escapes. 

In the audience that night was a lady who 
had also attended the performance where Mr. 
Ross had given his interpretation of the Roman 
father. When the faithful_daughter sank to the 
ground, preferring death to dishonor, the lady 
began to show signs of disapprobation. The 
curtain fell and the star and leading lady re- 
sponded to a hearty curtain call. This was where 
our lady friend thought proper to impress on 
those who were near her how much she knew 
of things theatrical, for in loud tones she called 
out to a gentleman who sat some distance away : 

"Those people should be prosecuted. The 
whole thing is a steal from Charley Ross !" 

214 Driftwood of the Sta^e. 


Daniel H. Harkins, the veteran actor, who 
was known and admired by three generations of 
players and playgoers, was engaged for the im- 
portant role of the King in the production of 
"The Last Appeal/' at Wallack's Theater, New 
York, April 17, 1902. On the opening night he 
appeared at the theater in good health and 
spirits. When he endeavored to utter the first 
lines of his part, however, his fellow-players 
realized that something was wrong. As the per- 
formance went on the old player became more 
and more nervous, and he seemed utterly to for- 
get his lines. The audience was at first inclined 
to laugh, and then hisses were heard in different 
parts of the house. 

It soon became apparent that the actor was 
ill and sympathetic words quickly took the place 
of smiles among the auditors. But it was too 
late ; the hisses had reached the heart of this fine 
old actor who had served them faithfully for 
over forty years. He managed to get through 
the performance, but his efforts in the last act 

Driftwood of the Sta^e. 215 

were most pitiful. His mind had given way. 
He was taken from the theater to his home, 
and later was removed to the home of his father 
at San Francisco, Cal., where he died December 
7, 1902. 

The audience never paused to consider the 
pathetic possibilities of the situation. Enough 
for them that the veteran actor acted queer. And 
so they laughed. 

Sick! Nonsense. Actors are never sick on 
the stage. They may be intoxicated or not up 
in their parts ; but sick, never ! 

It may be of some consolation to remember 
that equally inconsiderate persons have laughed 
and hissed at other admirable actors under cir- 
cumstances infinitely distressing. They laughed 
at Edmund Kean, one of the greatest tragedians 
of the Ejiglish-speaking stage. Mr. Kean was 
playing Othello to the lago of his son Charles. 
His acting that night was peculiar. He was un- 
steady on his legs. The boxes tittered, and the 
gallery hissed. But Mr. Kean went on with 
the performance. After speaking the words, 
"Othello's occupation's gone," he fell into the 
arms of his son. The great Kean was dying. 

They laughed at Lawrence Barrett. It was 
at the Broadway Theater. The Booth and Bar- 

2i6 Driftwood of the Sta^e. 

rett combination was playing its last engage- 
ment in New York. The play was "Richelieu/* 
Mr. Barrett appeared as Adrian Du Mauprat. 
He acted queer. Unexpectedly the stage mana- 
ger came before the curtain and announced that 
Mr. Barrett was too ill to continue the perform- 
ance, but that another member of the company 
would take his place. Edwin Booth's great 
partner was carried from the theater and taken 
home to die. 

They laughed at Castlemary, the grandest 
Mephistopheles on the lyric stage. Castlemary 
was singing at the Metropolitan Opera House, 
New York, under the Abbey, Schoeffel and 
Grau management. He was frightfully out of 
tune and continually forgot his part. As a mat- 
ter of fact, the man was suffering untold phys- 
ical pain. When the curtain fell Castlemary 
fell too. He died on the stage in the arms of 
Jean de Reszke. 

They laughed at George S. Knight when he 
sought recognition with his beautiful play, 
"Baron Rudolph," and that fine actor went to 
his grave with a broken heart. "Baron Rudolph" 
was originally written by Bronson Howard for 
Mr. and Mrs. W. J. Florence, but was not ac- 
cepted by them, and was later rewritten for Mr. 

Driftwood of the Sta^e. 217 

Knight. Its first presentation was at the Acad- 
emy of Music, Cleveland, Ohio, and was played 
by Mr. Knight for two seasons, when it was 
laid aside for "Over the Garden Wall." On 
October 24, 1887, it was produced at the Four- 
teenth Street Theater, New York, and kept on 
the stage for four weeks. It was during this 
engagement that it was noticed he was not him- 
self, and occasionally forgot his lines. A little 
later an attack of paralysis rendered him speech- 
less, and he was treated by the best specialists 
without avail. A benefit performance was given 
at the Bijou Theater, New York, February 27, 
1890, and the sum of $2,000 was raised for the 
afflicted actor. He died January 14, 1892. 

They laughed at "Old Hoss" Hoey when he 
began to do strange things on the stage, but he 
only laughed with them, and managed to fill out 
the season. He was advised to take a rest for 
a time, and in a couple of months was laid in 
his grave. His last appearance on the stage was 
in "A Parlor Match," at the Harlem Opera 
House, New York, April 24, 1897. Mr. Hoey 
died at New York, June 29, 1897. 

Harry Kernell was playing at Tony Pastor's 
Theater, New York, where he had always been 
a great favorite. At one performance it was 

2i8 Driftwood of the Stage. 

noticed that his delivery was slow and his stories 
consequently fell flat. He would hesitate for 
a long time, as if collecting his thoughts. They 
did not know of his terrible suffering and hissed 
him. Soon after he disappeared from public 
view. He died March 13, 1893. 

They hissed John McCullough at McVicker's 
Theater, Chicago. The bill was ''The Gladia- 
tor," with Mr. McCullough as Spartacus. He 
had been great in that part, but it only served 
to give apprehension. He forgot his lines, 
mumbled and groaned and ranted in an alarm- 
ing manner. He indulged in so many queer 
actions that the audience laughed. He paid no 
attention to the smiles and tittering of his audi- 
tors, but soon hisses were heard. This was too 
much. He had nev^r in his long career been 
hissed before, and he stood with his jaws set 
glaring defiantly at the section of the house from 
which came the objectionable noise. People 
thought he had been drinking. Nothing was 
ever so pitiful as the sight of the great tragedian 
stumbling through his lines, ranting, groaning, 
and at times almost dazed. They rang down 
the curtain. 

Then Mr. McCullough appeared before the 
curtain and said : 'Xadies and gentlemen. If 

Driftwood of the Sta^e, 2ig 

this evening's performance had cost you the 
pain and effort it has cost me, you would not 
be here to-night." Those were the last words 
he ever spoke to an audience — a gentle rebuke 
to the people that had admired and applauded 
him and finally misjudged him. Friendly hands 
led him from the stage and into retirement for- 

On Christmas night, 1891, the Fourteenth 
Street Theater, New York, was crowded to see 
William J. Scanlan in "Mavourneen." In the 
first act he who had long been a stage favorite 
strode feebly to the center of the stage and 
stood with clasped hands and bowed head. When 
he spoke the empty sound of his voice struck 
terror to the hearts of the actors who stood about 
him and loved him. He did not know what to 
do or what to say. The last act was chaos. 
Some divined the truth, but others, thoughtless 
and ribald, believing Mr. Scanlan under the 
influence of drink, scoffed and jeered as the 
curtain fell. 

He stumbled to the footlights at the end of 
the performance bearing in his hands a floral 
harp which some of his admirers had given 
him. ''They say," he said to the astonished 
audience, ''that I am out of my mind, but that 

220 Driffzvood of the Sta^e. 

is not true. My head is all right and so is my 
heart." He began to cry then. There was 
no performance of "Mavourneen" the next 
day. Poor Billy Scanlan had bid the stage 
good-bye. He died at White Plains, New 
York, February i8, 1898. 

There have been cases where actors have 
been hissed on purely personal reasons. At the 
close of the civil war Frank C. Bangs, who 
had served in the Confederate army with a 
splendid record for bravery, went to the Na- 
tional Theater, Washington, D. C, as leading 
man. The resident population of the city were 
all Southern and endeavored to control the en- 
tire house on the occasion of his first appear- 
ance. Knowing there would be a demonstra- 
tion of some kind, many of the Northern 
officials and soldiers then in Washington gained 
entrance. The gallery gods were all South- 
erners to the core. When Mr. Bangs came on 
the stage the Northerners started to hiss. But 
the thunders of applause from all over the house 
and the rebel yell soon drowned the hisses, and 
he was allowed to proceed. 

A band of students once hissed Sarah Bern- 
hardt in her own theater at Paris. The divine 
Sarah was astounded, and was curious to know 

George W. Wii^son 

Driftwood of the Sta^e. 221 

the reason, whereupon the students replied that 
they had only admiration for her acting, but that 
not even she could meddle with the genius of 
Racine. She was playing in a revival of "An- 
dromaque." The play as performed was not 
as written by the author, and the students, as 
worshipers of the French literary genius, 
would not, they said, permit anyone to insult 
the memory of the great Racine by trying to 
modernize his plays. 

On several occasions there have been or- 
ganized efforts on the part of Irish societies 
to interfere with performances that presented 
racial caricatures. "A Hot Old Time" com- 
pany was hissed and hooted at when playing 
Springfield, Mass. At Philadelphia, the par- 
ticipants in the wake scene in ''The Shaugh- 
raun" were assailed with missiles, and at the 
same city a performance of ''McFadden's Row 
of Flats" ended in a riot, in which many were 
injured. The riot was similar to one that 
occurred to the same company while playing 
at the Star Theater, New York, the week pre- 
vious, when two hundred Irishmen, whose 
feelings had been outraged by the performance, 
rose in their seats in the theater at a signal and 
pelted the performers with stale eggs, decayed 

222 Driftwood of the Sta^e. 

vegetables and fruit. The audience of over 
two thousand v^as thrown into an uproar and 
the actors were driven from the stage. Bricks 
were thrown upon the stage, eggs struck per- 
formers and scenery; torpedoes were hurled 
upon the stage, which struck with such force 
that they exploded like so many bombs. The 
stage was littered and the actors and actresses 
sought refuge in every corner. 

Then there quickly followed a scene of wild 
disorder and riot which was feared would ter- 
minate fatally to some one. The air seemed 
filled with missiles, and the noise of bursting 
torpedoes seemed like a miniature battle. The 
confusion was intense, and the cries of women 
and children could be heard above the din of 
the rioters' oaths. Immediately there was a 
rush for the exits, and in the excitement women 
and children were trampled upon. None were 
seriously injured, however. In the uproar a 
policeman who was trying to preserve order 
discovered and stamped out a burning rag in 
one of the aisles. 

In June, 1902, Maclyn Ar buckle while play- 
ing at Powers' Theater, Chicago, in "The Lady 
of Lyons," was greeted with a fierce storm of 
indignation created by his lines on woman in 

Driftzvood of the Sta^e. 223 

the fifth act. In the play Mr. Arbuckle had to 
say: "Yes, a miracle — in other words, a con- 
stant woman." Storms of hisses greeted this 
denunciation of the sex, and for five minutes 
the play was interrupted by continued hissing. 
The house was filled with fashionable women, 
and they could not seem to realize that they 
were witnessing a play. They took the jibe to 
heart. A few of the women were not content 
with hissing and gave vent to cries of "Shame !'' 
and "Wretch!" and various other words of 
condemnation. When Mr. Arbuckle attempted 
to go on w^ith his speech on the frailties of 
woman he was interrupted again at every line. 

In the early seventies Archie Hughes be- 
gan an engagement at the Theater Comique, 
New York. Mr. Hughes, who was a noted 
minstrel and a great favorite in Brooklyn, where 
he had for years been connected with Hooley's 
Minstrels, would occasionally be called upon to 
play at New York, and was always sure of a 
good reception. 

On this occasion he had hardly commenced 
his specialty when hisses began to come from 
all parts of the house. This was a puzzle to 
everybody, as it was not known that Archie had 
an enemy in the world. Suspicion pointed to 

224 Driftwood of the Stage. 

a well-known vaudeville team at that time at 
the height of their career. Both denied being 
implicated in the affair, but subsequent investi- 
gation proved the senior member of the team 
the sole instigator of the insult. The saying 
that revenge is sweet was shown in this case. 
It was not long after that this team was en- 
gaged for the Olympic Theater, at Brooklyn. 
During the day that they were to appear several 
large purchases of tickets gave a hint that 
there would be something doing that night, and 
when a prominent city official purchased one 
hundred tickets to give a theater party to a 
social club to which Mr. Hughes belonged, they 
were sure of it. The team had a fine specialty, 
one of the most successful acts ever on the 
stage, the music of which was being whistled 
and sung by everybody. This made no dif- 
ference to the crowded house that received them 
only to return the insult that had been offered 
to their favorite and fellow-townsman. When 
the orchestra commenced to play the introduc- 
tory music to their act the noise and hisses 
began. They were not allowed to proceed. 
The senior member of the team stepped to the 
footlights to say something to the audience but 
was hooted down. The junior member then 

Driftwood of the Sta^e. 22^ 

stepped forward and was loudly cheered, as 
was a small colored boy used in the act who 
had been led to the front by both of the per- 
formers. Finding it would be impossible to 
proceed the team withdrew. 

In some of the London playhouses they have 
a way distinctively their own in showing their 
disapprobation of a play or player that does not 
suit their fancy. Certain sections of the house 
observe a dignified silence, and the galleries 
indulge in what some call an automatic outcry, 
but can better be described as a ''boo." 

Upon the occasion of William Gillette's first 
performance in "Sherlock Holmes" at the 
Lyceum Theater, London, this clever actor was 
not received with the proper courtesy that was 
due him. When the curtain finally fell there 
were a great many calls for Mr. Gillette's ap- 
pearance. As he stepped forward quite a large 
number of the upstairs spectators with that deli- 
cate sense of humor began to "boo." Mr. Gil- 
lette was not in the least disconcerted. He 
stood there with a slight smile flickering about 
his thin lips, and when he had a chance to be 
heard, he said: "Of course, if you keep this 
up, you'll win!" 


226 Driftwood of the Stage. 


John Wilkes Booth was the third son of 
Junius Brutus Booth, known as a tragedian of 
very great ability in his life, and was born on 
a farm near Baltimore, Md., in 1838; he was 
consequently at the time of his death only 
twenty-seven years of age. 

The children of actors very often embrace 
their parent's vocation. John Wilkes was no 
exception to this rule, and at the age of seven- 
teen resolved to enroll himself among the mem- 
bers of the dramatic profession. Opportunity 
was not wanting, and he made his first bow to 
an audience at the St. Charles Theater, Balti- 
more, Md., as Richmond, in "Richard III." In 
August, 1857, he joined the company at the 
Arch Street Theater, Philadelphia, making his 
first appearance there as Second Mask in "The 
Belle's Stratagem" under the name of John 
Wilkes. He remained there during the season. 

Having gained some confidence he resolved on 
a starring tour, and in 1861 made engagements 

Driftwood of the Sta^e. 227 

at the different theaters. He visited all the prin- 
cipal cities and his success was very great. He 
made his first appearance in New York as a star 
at Wallack's Theater, Broadway and Broome 
Street, March 31, 1862. Retired from the stage 
in 1863 and speculated in oil in the oil regions 
of Pennsylvania. On November 25, 1864, he 
appeared with his two brothers, Edwin and 
Junius Brutus, in "J^^i^s Caesar" at the Win- 
ter Garden, New York, for the benefit of the 
Shakespeare Monument Fund, John Wilkes act- 
ing Marc Antony. This occasion and his one 
week's engagement at Wallack's Theater were 
his only appearances in New York. His last 
appearance on any stage was at Ford's Theater, 
Washington, D. C, as Pescara, in "The Apos- 
tate," for the benefit of John McCullough, 
March 18, 1865, but a short time before the 
unfortunate tragedy that plunged the nation into 
grief. The act of a misguided young man who 
atoned for it by a violent death preceded by the 
most agonizing tortures, cut off in the bloom 
of youth. 

On the night of April 14, 1865, an invitation 
was extended to President Lincoln and suite to 
attend Ford's Theater, Washington, D. C, to 
witness a performance of "Our American 

228 Driftwood of the Stage. 

Cousin." The party consisted of the President, 
Mrs. Lincoln, Major Rathbone and Miss Harris. 
It was intended that General Grant was to be one 
of the party but he was compelled to leave the 
city on important business. The recent victories 
had greatly increased the popularity of the ad- 
ministration, and the most enthusiastic cheers 
greeted the President from one of the most bril- 
liant audiences that had assembled that season. 
All the elite and beauty of the federal city were 

The presidential box was made on this occa- 
sion from two, the partitions being removed, and 
it was on a level with the dress circle, about 
twelve feet above the stage. There were two en- 
trances, the door nearest the wall was closed and 
locked, the other being open and left unclosed af- 
ter the visitors had entered. The interior was 
carpeted in crimson, the walls papered with the 
same color, and furnished with a sofa, three arm 
chairs and a rocking chair of a similar hue. The 
President occupied the rocking chair, which was 
placed in the angle of the box nearest the audi- 
ence, where screened from observation he had 
the best view of what was passing on the stage. 
Mrs. Lincoln had the seat next to him. 

Booth entered the theater just as the third act 

Driftwood of the Sta^e. 229 

had commenced. He ascended to the dress cir- 
cle and gazed for a few moments on the audience 
and the stage. He then slowly walked to the 
box and asked for admission. The servant in 
attendance informed him it was the President's 
box and no one was allowed to enter. He then 
advanced to the front of the box, and suddenly 
the sharp crack of a pistol was heard. The 
President's head fell on his shoulder; the ball 
was in his brain. 

Dropping his pistol he drew a dirk,* and 
wounded Major Rathbone in the arm. Then 
leaping upon the velvet covered balustrade in the 
front of the box he made a spring, his spur 
caught in the flag ornamenting the front, and 
his leg was broken. Heedless of the pain, he 
fell upon the stage. Quickly regaining his feet 
he stood there for a moment and shouting with 
an uplifted dagger in his hand, "Sic Semper 
Tyrannis!" fled to the rear of the theater. 
Colonel Stewart, who sat near the orchestra, 
climbed after him, but Booth eluded his grasp. 
Another who attempted to pursue was thrust 
aside with a blow. He gained the back door, 
mounted the horse that was awaiting him, and 
for a time escaped. 

A dead stillness reigned for a few seconds, 

230 Driftwood of the Sta^e. 

This pause was succeeded by the most indescrib- 
able noise and confusion. Laura Keene, the star 
of the evening, addressed the audience from the 
footlights begging them to keep their seats. 
Order was restored and Miss Keene then pro- 
ceeded to the President's box and took the head 
of the dying statesman in her lap. The night 
was the most awful that Washington ever saw. 
The news soon circulated from house to house, 
and inquiries as to the safety of General Grant, 
Secretary Seward, and other members of the 
cabinet, fell from a thousand lips. The whole 
city was moved as one man and every counten- 
ance was blanched with rage and fear. The 
fourteenth of April, 1865, was now a memorable 
day in history, and the most melancholy in the 
annals of the country. 

The wounded man was immediately attended 
by the best medical skill, who had him conveyed 
to a private residence opposite the theater, where 
he continued to grow weaker and weaker, until 
twenty-two minutes after seven o'clock on Sat- 
urday morning, April 15, when his eyes closed 
in death. 

The theaters and all other places of amuse- 
ment everywhere that the painful intelligence 
reached, were closed on the 15th, and no per- 

Driftwood of the Sta^e. 231 

formance given at any of them. Some houses 
did not open until after the funeral of the chief 
magistrate. Edwin Booth at the time was acting 
at the Boston Theater. When the news of his 
brother's terrible deed reached him he retired 
from the stage and buried himself in obscurity. 
He reappeared January 3, 1866, at the Winter 
Garden, New York, as Hamlet. 

The remains of the President were entombed 
with great magnificence, each city extending its 
mournful hospitality as the funeral cortege 
passed through them on the way to the final rest- 
ing place at Springfield, 111. 

On leaving the theater Booth was joined by 
David E. Harold, and together they dashed 
across Capitol Hill towards the eastern branch of 
the Potomac, which they crossed at Uniontown. 
They then proceeded on their journey at a break- 
neck pace, neither whip nor spur was wanting; 
it was a race for life or death, and they felt it. 
About sunrise on Saturday morning they had 
reached Bryantown. Booth's leg was now very 
painful, but they rode on until they reached the 
house of Dr. Samuel A. Mudd. Harold assisted 
his companion to the house of the doctor, who 
on making an examination of the wounded limb 
found the outward bone was broken about two 

232 Drifizvood of the Sta^e. 

inches above the instep. There was some diffi- 
culty in finding splints and a crutch, but some 
old boxes were broken up and the necessary 
articles made. Breakfast was served and the 
two men departed. 

By night they had reached one of the swamps 
so well-known in St. Mary's County. Three 
days were passed in the swamp. Harold would 
go out at nightfall to beg food, and on one oc- 
casion stole a blanket and tin cup; these with 
the exception of a little money constituted their 
sole possessions. 

An immense reward was offered by the gov- 
ernment for their capture. Ten thousand caval- 
rymen had been scouring the country, but as yet, 
fruitlessly. All Booth's precautions had been 
so well taken that not a step could be traced. 

The two men continued their travels and took 
refuge in a barn near Bowling Green, where in 
the darkness of the night on Tuesday, April 26, 
they were discovered armed to the teeth and 
bidding defiance to. the men sent to capture them. 
They were ordered to deliver up their arms and 
come out or the barn would be fired. The al- 
ternative was fearful. If they remained in the 
barn a dreadful death by fire awaited them, if 
they came out the scaffold and halter. Harold 

Driftzvood of the Sta^e. 233 

came to the door and surrendered to the officers 
and was passed to the rear. 

Booth was now alone and the pursuers see- 
ing no other way of driving him out, fire was 
set to the barn. In a few seconds the flames 
danced around every part and showed Booth 
supporting himself against the side. He had 
dropped his crutch and could not recover it. Col- 
lecting all his strength he made for the door car- 
bine in hand, but before he reached it a bullet 
from the weapon of Sergeant Boston Corbett 
entered his neck. He tottered and fell headlong 
to the floor. He was taken out and laid on 
the grass. The angel of death drew near. As 
the dawn approached his eyes rolled and a livid 
paleness overspread the face; with a sudden 
check and gurgle he threw his head back, and 
the spirit had fled forever. 

The corpse was sewed up in a saddle blanket 
and conveyed by wagon to Belle Plain, which 
was reached in the afternoon, thence by steamer 
to Washington. On the morning of April 28 
Booth's body was lifted on to the deck of the 
monitor Montauk. It was solemnly laid on a 
carpenter's bench back of the turret. An autopsy 
was held next dav. The bodv was then taken 

234 Driftwood of the Sta^e. 

to the Washington Penitentiary and buried be- 
neath the stone floor. 

The government in the meantime had not been 
idle. The nation had recovered from its great 
shock, and after the last sad duties had been 
paid to the dead President, resolved to ascertain 
and punish the conspirators. Everybody that 
had been seen in Booth's company during the 
day were put under arrest on suspicion of being 
accessories to the crime. This, however, was 
a mere formality, which in the general excite- 
ment could not be overlooked. Of course, there 
was little difficulty about obtaining immediate 
release, for it was evident that not one of his 
companions had the remotest idea of the 
thoughts that had been surging through Booth's 

Lewis Payne, Mrs. Mary E. Surratt, George 
A. Atzerodt, Michael O'Laughlin, David E. 
Harold, Dr. Samuel A. Mudd and Edward 
Spangler were arrested and charged with con- 
spiracy. They were also accused of intent to 
kill Andrew Johnson, Ulysses S. Grant, and 
others who were named in the charges. A mili- 
tary commission was appointed for their trial. 
In accordance with the findings of the commis- 
sion, which' the President approved, Harold, 

Driftwood of the Sta^e. 235 

Payne, Atzerodt and Mrs. Surratt were sen- 
tenced to death and executed on July 7, 1865. 
Dr. Mudd and 0''Laughlin were sentenced 
to life imprisonment, and Spangler to six years 
in the Albany Penitentiary. 

On the 15th day of February, 1869, Edwin 
Booth received an order from President An- 
drew Johnson giving him the custody of his 
brother's body. The undertaker in charge pro- 
ceeded to the penitentiary and found that John 
Wilkes was buried in a trench that also held 
the bodies of Captain Wirz, Mrs. Surratt, 
Payne, Harold and Atzerodt. Preparations were 
at once commenced for the disinterment of the 
remains. There were present the undertakers, 
a military officer, a representative of the press 
and a file of soldiers. The box in which the re- 
mains were interred was much decayed, but the 
body which was wrapped in two or three gray 
blankets was in a tolerable state of preservation. 
The box was then borne by four soldier? to a 
wagon in waiting, and that night encased in 
another pine box was taken by car to Balti- 
more. Joseph Booth, a brother, viewed the body 
and identified it beyond doubt. Later the re- 
mains were placed in their final resting place in 
the family burial plot in Greenmount Cemetery, 
Baltimore, Md. 

236 Driftzvood of the Sta^e, 


It may not be generally known that the great 
French tragedienne, Rachael, was forced by ill- 
ness to bring her dramatic career to a close and 
make her last appearance on the stage while 
on a visit to this country. This renowned actress 
made her debut at the Gymnaise Theater, Paris, 
in May, 1837, in a play called "La Vendeene,'' 
in which she acted a poor peasant girl who saves 
the life of her father by pleading with the Em- 
press Josephine. Rachael made her first ap- 
pearance in America at New York, September 
3, 1855, as Camille, in Corneille's tragedy ''Les 
Horaces." While in Philadelphia she caught a 
bad cold, collapsed, and on the advice of her 
physician was sent to Charleston, S. C, that she 
might escape the rigors of a northern winter. 
It was in the latter city on December 17, 1855, 
that she made her last appearance on any stage 
as Adrienne Lecouvreur. At the time she was 
dying by inches of consumption. Next she went 
to Havana, and then back to France, never more 

Driftwood of the Sta^e. 237 

to act. Rachael lingered on until January 3, 
1858, when she passed from earth. 

The last appearance of Frank Mayo on the 
stage was at the Broadway Theater, Denver, 
Col., June 7, 1896, as Pudd'nhead Wilson in the 
play of that name, which was originally pro- 
duced by him at the Herald Square Theater, 
New York, April 15, 1895. Mr. Mayo in his 
time played many parts, but those best remem- 
bered are Davy Crockett and Pudd'nhead Wil- 
son. Davy Crockett was called a "backwoods 
idyl." It was a pure love story, told in a simple, 
dramatic way. The character of Davy Crockett, 
the central figure, was beautifully and artistically 
drawn, a strong, brave young hunter from the 
far West, bold, but unassuming; unable to read 
or write ; utterly unconscious of his own physical 
beauty and of his own heroism. There is no 
doubt that Davy Crockett owed much of its suc- 
cess to Mr. Mayo's performance of this back- 
woods hero. He first played this character at 
Rochester, N. Y., in 1873, producing it at 
Niblo's Garden, New York, March 9, 1874. 

Mr. Mayo made his first appearance on the 
stage at the American Theater, San Francisco, 
CaL, July 19, 1856, as a waiter in ^'Raising the 
Wind." He played an engagement at Boston in 

238 Driftwood of the Sta^c. 

1865, and a little later played star engagements 
throughout the country. His first appearance 
in New York was at the Grand Opera House, 
March 31, 1869, when he was specially engaged 
for the part of Ferdinand in a production of 
'The Tempest/' Mr. Mayo died on a rail- 
way train, June 8, 1896. 

The last appearance on the stage of James A. 
Heme was at the Grand Opera House, Chicago, 
in the spring of 1901, as Captain Dan Marble, 
in the play "Sag Harbor," of which he was the 
author. Mr. Heme's theatrical career was a 
notable one of forty-two years' duration. His 
first appearance was at the Adelphi Theater, 
Troy, N. Y., in April, 1859, as George Shelby, 
in "Uncle Tom's Cabin," and he was suc- 
cessively leading man and star, manager and 
dramatist. In addition, he was a thoroughly 
capable stage manager. His first play was 
"Hearts of Oak," produced at Chicago in 1878. 
Next came "The Minute Man," and later 
"Drifting Apart" and "Margaret Fleming." His 
biggest success was "Shore Acres," first played 
at Chicago in 1892. "Sag Harbor" was first 
brought out at Boston, October 24, 1899. The 
action of the play was placed at Sag Harbor, 
a village on Long Island, which in the old days 

ISABEi. Irving. 

Driftzvood of the Sta^e. 239 

was a prosperous whaling port. With remark- 
able fidelity to nature he transferred to the 
theater the quaint characters of the village, and 
throughout the play was notable for the rich 
quality of its humor. Captain Marble, as pre- 
sented by Mr. Heme, was one of those lovable 
characters of which his Nathaniel Berry in 
"Shore Acres," was so delightful a type. Mr. 
Heme died at New York, June 2, 1901. 

Mrs. John Drew, who was regarded as one 
of the most versatile actresses ever seen on the 
American stage, played her last engagement at 
the Newark Theater, Newark, N. J., January 
9, 1897, as the Duchess of Rulford, in "The 
Sporting Duchess." Her last appearance on any 
stage was at the benefit given to Edwin F. 
Knowles at the Montauk Theater, Brooklyn, N. 
Y., May 13, 1897, when she acted in a little 
sketch entitled "The First Jury of Women.*" 
Her first important speaking character was Agib 
in "Timour, the Tartar," at the Liverpool Thea- 
ter, when but a child. 

Her first appearance in America took place 
at the Walnut Street Theater, Philadelphia, as 
the Duke of York to the elder Booth's Richard 
ni. First appeared in New York at the Bowery 
Theater, March 3, 1828. She went to the Arch 

240 Driftwood of the Sta^e. 

Street Theater in Philadelphia in February, 
1853, and assumed the management of this thea- 
ter August 31, 1 86 1, and thereafter until her 
tours as a special attraction in star combina- 
tions, her name was identified with the house. 
She was perfectly at home in tragedy or comedy, 
but perhaps Lady Teazle and Mrs. Malaprop 
are the two best remembered creations of this 
lady. As Mrs. Malaprop she made her ludicrous 
verbal blunders with the most sublime uncon- 
sciousness, and embodying the part as she alone 
could do it. When the Jefferson-Florence com- 
bination was formed in 1889, Mrs. Drew was 
engaged and was the next player of interest and 
importance in the cast. She died at Larchmont, 
N. Y., August 31, 1897. 

George L. Fox, most famous as a panto- 
mimist, made his last appearance on the stage 
at Booth's Theater, New York, November 2y, 
1875, as Humpty Dumpty, a part he had played 
over 1,200 times. Mr. Fox made his first ap- 
pearance at the Tremont Theater, Boston, in 
1830, when but five years of age, and after 
nearly half a century before the footlights, shat- 
tered in health and broken in mind, he disap- 
peared from the public view. He died at Cam- 
bridge, Mass., October 24, 1877. 

Driftwood of the Stag^e, 241 

Charles R. Thorne, Jr., made his last appear- 
ance on the stage at Booth's Theater, New York, 
January 9, 1883. Mr. Thorne appeared in an 
elaborate revival of "The Corsican Brothers," 
in the dual role of Louis and Fabian. After 
the second performance he was taken ill and 
unable to leave his bed, and the theater was 
closed. The first part Mr. Thorne played was 
that of George Shelby, in "Uncle Tom's Cabin," 
in 1854. He died at New York, March 10, 

Fanny Davenport made her last appearance 
on the stage at the Grand Opera House, Chi- 
cago, March 22^, 1898, as Cleopatra. Miss Da- 
venport's first appearance on the stage was at 
the Howard Athenaeum, Boston, as the Child 
in "Metamora." Her first appearance in New 
York was at Niblo's Garden, February 14, 1862, 
as King Charles 11., in "Faint Heart Never 
Won Fair Lady," her father as Ruy Gomez, and 
her mother as the Duchess of Terranueva. Her 
first appearance in Augustin Daly's company was 
at the Fifth Avenue Theater, New York, Sep- 
tember 29, 1869, as Lady Gay Spanker, in 
"London Assurance." She produced Sardou's 
play of "Fedora" in 1883; "La Tosca" in 1888; 

"Cleopatra" in 1890, and "Gismonda" in 1894. 

242 Driftwood of the Stage. 

Miss Davenport died at Duxbury, Mass., Sep- 
tember 26, 1898. 

William J. Florence made his last appearance 
on the stage at the Arch Street Theater, Phila- 
delphia, November 14, 1891, playing the part 
of Zekiel Homespun in "The Heir at Law." 
Mr. Florence made his professional debut at the 
Richmond Hill Theater, New York, December 
6, 1849, as Peter, in "The Stranger." On Oc- 
tober 15, 1889, Mr. Florence and Joseph Jeffer- 
son made their joint appearance at the Star 
Theater, New York, in "The Rivals," Mr. Jef- 
ferson in the part of Bob Acres and Mr. 
Florence as Sir Lucius O'Trigger. Mrs. John 
Drew was engaged for the part of Mrs. Mala- 
prop. Mr. Florence died at Philadelphia, No- 
vember 18, 1 89 1. 

The last appearance on the stage of Joseph 
Haworth took place at the Victoria Theater, 
New York, May 2, 1903, as Prince Dimitri in 
"Resurrection." For years Mr. Haworth was 
accounted one of the very best actors on the 
American stage. He was assuredly one of the 
most studious and intellectual members of the 
dramatic profession in this country, and through 
,his whole career his influence was always toward 
the betterment of stage art. He was a man of 

Driftwood of the Stage. 243 

unusually broad mental attainments, a master 
of the mechanics of acting, and in temperament 
a thorough artist. When he was eighteen years 
old Mr. Haworth encountered the chance that 
opened to him a career on the stage. He was 
permitted to recite "Shamus O'Brien" at a bene- 
fit performance. Charlotte Crampton was at- 
tracted by his personality and earnestness, and 
intrusted to him the role of Buckingham in a 
performance that she was about to give of 
"Richard III." This performance took place at 
the Academy of Music, Cleveland, Ohio, in 
1873, and was his first professional appearance. 
Mr. Haworth has been in the support of many 
noted stars. He played Romeo to Mary Ander- 
son's Juliet, and was with John McCullough 
when that gentleman's breakdown occurred. 
When Mr. McCullough was stricken he fell into 
Mr. Haworth's arms, and was borne by him 
from the stage. He was also at various times 
leading man for Clara Morris, Margaret Mather 
and Julia Marlowe. Mr. Haworth was found 
dead in bed at a hotel at Willoughby, Ohio, 
August 28, 1903. 

Margaret Mather made her last appearance on 
the stage at the Burlew Opera House, Charles- 
ton, W. Va., April 7, 1898, as Imogen in 

244 Driftwood of the Sta^c. 

"Cymbeline." Miss Mather made her stellar 
debut at McVicker's Theater, Chicago, August 
28, 1882, as Juliet. Her first appearance at New 
York was in the same character, and took place 
at the Union Square Theater, October 13, 1885. 
Miss Mather died at Charleston, W. Va., April 
7, 1898, shortly after she had finished her per- 
formance. They brought her to Detroit, Mich., 
to be buried beside her mother. Arrayed in the 
robes she had so often worn as Juliet, she was 
laid in state, and her face was gazed upon by 
thousands. It was on an Easter Sunday that 
she was laid in her grave. 

Sol Smith Russell made his last appearance 
on the stage at the Grand Opera House, Chi- 
cago, December 18, 1899. *'The Hon. 'John 
Grigsby" was the play, and during its perform- 
ance Mr. Russell broke down, and after which 
he was never able to appear again. His first 
appearance on the stage was at the Defiance 
Theater, Cairo, 111., in 1862, where he sang be- 
tween the acts and played the drum in the or- 
chestra. The first part he acted was a negro 
girl in "The Hidden Hand." 

Later he joined the Berger Family of bell 
ringers, and made a tour eastward with them. 
His comedy work gained such notice that he 

Driftwood of the Staf^c. 245 

branched out for himself as a humorous lec- 
turer. His success here brought him an engage- 
ment, in 1867, with the stock company at the 
Chestnut Street Theater, Philadelphia, under 
Colonel William E. Sinn's management. More 
tours in monologue followed, and then his first 
New York engagement, at Lina Edwin's Thea- 
ter, in 1 87 1. Augustin Daly engaged him in 
1874, and on August 24 of that year he made 
his debut with the Daly Stock Company at the 
Fifth Avenue Theater as Mr. Peabody in "What 
Could She Do ? or Jealousy." He left the com- 
pany the next season, but rejoined it in 1876. 
While under Mr. Daly's management he played 
many comedy roles with success. 

In 1880 Mr. Russell made his debut as a 
star, appearing in *' Edge wood Folks," a comedy 
written especially to suit him. Though his own 
work was admirable and his company excellent, 
the first season's tour was a failure pecuniarily. 
The following season the tide turned, and for 
the next four years Mr. Russell toured pros- 
perously in ''Edgewood Folks," and became 
firmly established as a star. For one season 
thereafter he was the comedian at the Boston 
Museum. Then he resumed starring, playing 
in three seasons "Felix McKusick" and "Be- 

246 Driftzuood of the Sta^e. 

witched." Then came ''A Poor Relation" in 
1889-1890; "The Tale of a Coat," produced 
at Daly's Theater in 1890, and later, "Peaceful 
Valley," "April Weather," a revival of "The 
Heir at Law," and "A Bachelor's Romance." 

At the death of Mr. Russell the stage lost one 
of its quaintest and most lovable characters. His 
odd, unctuous performances will never be for- 
gotten by those who saw him. His wealth of 
dry humor was equaled by his supply of ten- 
derness and pathos. Throughout the west and 
south Mr. Russell enjoyed his greatest popu- 
larity, and there no actor held a warmer place 
in the affections of the public. Mr. Russell died 
at Washington, D. C, April 28, 1902. 

Stuart Robson's last appearance on the stage 
was at the Burtis Opera House, Auburn, N. Y., 
April 25, 1903, as the Dromio of Syracuse, in 
"A Comedy of Errors." Few actors had a 
more interesting career or were better and more 
favorably known to the theater-going public than 
Stuart Robson. Born at Annapolis, Md., March 
4, 1836, he at an early age manifested an apti- 
tude for the stage, and when a mere youth, in 
company with Edwin Booth and John Sleeper 
Clarke, who later married a sister of Mr. Booth, 
he took part in amateur productions at Balti- 

Driftwood of the Sta^e. 247 

more, the performances often being held in a 
barn or some other place equally devoid of 
proper accessories. 

His first professional appearance was on the 
stage of the Baltimore Museum, January 5, 
1852, since which time he had been actively 
identified with the theatrical profession. One of 
his earliest successes was as Captain Crosstree 
in a burlesque entitled ^'Black-Eyed Susan," in 
1870. For several years prior to forming a 
partnership with William H. Crane, he was 
connected with stock companies, playing in 
various parts of the country. His first work 
with Mr. Crane was in "Our Boarding House," 
by Leonard Grover. "The Henrietta," Bronson 
Howard's famous work, was another monu- 
mental example of the ability of these two men, 
and for his clever work in that production Mr. 
Robson will probably be best remembered always 
as Bertie, the Lamb. 

One of the notable achievements of his long 
career was the magnificent revival of "A 
Comedy of Errors/' in which both he and Mr. 
Crane were eminently successful. "The Merry 
Wives of Windsor" also formed another link in 
the chain of successes which attended the efforts 
of these two comedians. Mr. Robson died at 
New York, April 29, 1903. 

248 Driftwood of the Stage. 


Where are those good old minstrel troupes 
that used to fill our opera houses with music, 
mirth and song? Where have those good old 
singers gone, with their voices sweet and pure, 
and whose songs touched the hearts of the 
audience? Where are those two good old end 
men, with their snow-white vests and mouth 
that stretched from ear to ear, whose songs and 
comic ditties brought the house down with a 

Minstrelsy at one time was our most popular 
style of stage entertainment, and almost every 
city of importance had its permanent minstrel 
halls, which were generally filled to their ca- 
pacity. At one time in New York there were 
Hooley and Campbell's Minstrels on the Bowery, 
and Bryant's, White, Cotton and Sharpley's, the 
San Francisco and Kelly and Leon's Minstrels, 
all had permanent homes on Broadway within 
a few blocks of one another. Hooley's Minstrels 
had a permanent organization in Brooklyn for 
many years. 

Driftwood of the Stag^e. 249 

The style of minstrel entertainment has 
changed somewhat from the old-time minstrel 
show. It used to be that when the curtain rose 
you would see from fifteen to twenty men seated 
in a semi-circle on the stage, with two end men, 
and all in evening dress. Sweet singing and 
clean humor was given for about forty minutes, 
and then for the olio, which consisted of a fe- 
male impersonator, clog or jig dancing, a sketch, 
a banjo player, a quartette of singers, or per- 
haps of brass, a song and dance team, and close 
the performance with a burlesque opera or a 
walk-around. No elevated stage, no spectacu- 
lar equipment, no Shakespearean first part, no 
bicycle riders, no acrobats or horizontal bars. 

The introduction of the negro as a stage per- 
son was caused by the demand for a novelty in 
this wise, and the individual acts of T. D. Rice 
and others had become famous through the op- 
portunities offered them for a hearing while the 
stage was being prepared for a change. But 
there had never been a double act produced in 
this manner, nor had there been offered any per- 
formance by more than one person with a coun- 
terfeit presentment of burnt cork. Dan Emmett 
had appeared as a colored fiddler, Billy Whit- 
lock as a negro ban joist, and Frank Brower had 

250 Driftwood of the Sta^e. 

rattled the bones in black face. Dick Pelham, 
another negro impersonator, was famous for 
juggling the tambourine to music. 

American minstrelsy was born at 37 Catherine 
Street, New York. The spot is sacred ground 
to a few veterans of the profession, who have 
made names for themselves in the strictly legiti- 
mate line of dramatic art, for the best known 
theatrical boarding house of the forties was lo- 
cated there. 

The place was kept by Mrs. Elizabeth Brooks, 
who, according to tradition, was a mother to 
those who sought a home at her house. There 
was no theater above Canal Street then, and 
the professional colony was so small that every 
actor, singer, or person connected with a theater 
or place of amusement was on speaking terms 
with the others. 

Dan Emmett was a popular member of Mrs. 
Brooks' household. One day in 1842 Billy 
Whitlock, another boarder, was aiding him to 
rehearse a new negro melody, Emmett playing 
his fiddle and Whitlock accompanying him on 
the banjo. Brower dropped in on his way to 
the theater and joined them with the bones, 
Pelham calling later with his tambourine. For 
the first time the quartette played together, and 

Driftwood of the Sta^e. 251 

the effect was so striking and musical that some 
one who heard the rehearsal suggested that the 
four men play in public as a quartette. 

The Virginia Minstrels, now indelibly re- 
corded in the history of the American stage, was 
formed that day. It was arranged that the four 
men were to test the departure before the public 
of New York, but an unsurmountable obstacle 
was encountered. No manager could be found 
who would give the new organization an oppor- 
tunity to appear on the regular boards. 

The great resort for the rank and file of the 
profession in the fifth decade of the century was 
a hotel kept at 36 Bowery, by Jonas Bartlett. 
There the circus performers lived during their 
visits to New York to appear in the single ring 
arenas of the circuses of that time. Much sym- 
pathy was extended to the Virginia Minstrels, 
and Uncle Jonas, as he was called, offered the 
use of his dining-room to the newly formed ag- 
gregation. A stage was improvised in the 
billiard room, and the first performance created 
a sensation. The ready wit of the minstrels and 
their topical conversation caught the town, and 
in a few days they were installed for a season 
in old Library Hall at that city. 

So, from the four men who accidentally met 

252 Driftzvood of the Stage. 

in Mrs. Brooks' boarding house in 1842, in 
primitive fashion, thousands have since enter- 
tained the people of every land and race and 
created melodies which have brought sweet 
memories of childhood to generations of men. 
While it had its origin and introduction with 
the rough furniture of a Bowery billiard hall 
for a stage setting, the quaint music of the sons 
of Ham is now produced by a complete operatic 
orchestra and with a scenic picture which costs 
thousands of dollars for the opening part. 

The greatest minstrel organization ever 
known was the San Francisco Minstrels. Every 
old performer and theatergoer will grow remin- 
iscent at the mention of Birch, Wambold, Ber- 
nard and Backus. It was indeed a rare com- 
bination. There seemed to be a bond of 
sympathy between those men, and they worked 
together so harmoniously on the stage that the 
people in the audience were affected by it. They 
used to take their audiences into their confidence 
and make it a sort of family circle affair, and 
they would spring impromptu gags on one an- 
other about things that had happened during 
the day. Birch and Backus were the end men. 
Backus had a large mouth and depended a great 
deal on boisterous methods, while Birch, who 

Driftwood of the Sta^e. 253 

exhibited a row of ivories in black face, talked 
to the interlocutor in a quiet, colloquial way. 
Bernard was the interlocutor, and he was one 
of the few middle men that have been an abso- 
lute attraction in themselves. Wambold was 
the greatest tenor that ever put on burnt cork. 
Had his voice received the proper cultivation 
he would have been one of the greatest singers 
that ever lived. Bernard retired from the busi- 
ness before the San Francisco Minstrels became 
a thing of the past. Backus and Wambold died 
well ofif, while poor old Birch died in poverty. 
They made the world happier and brighter by 
their presence, and when they died they left no 

Kelly and Leon's Minstrels was also a popu- 
lar organization in days gone by. They took 
the building at 720 Broadway, New York, 
which had been formerly known as Hope 
Chapel, and converted it into a cosy minstrel hall. 
The house was opened October i, 1866. There 
were seventeen in the first part. Frank Moran 
was on the bone end, Johnny Allen, tambourine, 
and Edwin Kelly, interlocutor. Delehanty and 
Hengler made their first New York appearance 
at this house, August 12, 1867. 

On December 11, 1867, a professional mati- 

254 Driftwood of the Stage. 

nee was given at the Fifth Avenue Opera House, 
then at Broadv^ay and Twenty-fourth Street, 
New York, which was largely attended. Sam 
Sharpley, who was then conducting a minstrel 
hall at 514 Broadway, and Mr. Leon got into 
an argument in front of the house after the per- 
formance, Sharpley claiming that Delehanty and 
Hengler, who were billed to appear at Kelly and 
Leon's, were under contract to him. Hot words 
passed and blows were struck. Friends of both 
parties interfered, and a few minutes later Tom 
Sharpe, a brother of Sam Sharpley, lay dead 
on the sidewalk, from shots fired by Edwin 
Kelly, and Sam Sharpley had shot Kelly in the 
head, severely wounding him. The house was 
then closed and remained so until December 17. 
Mr. Kelly was later placed on trial for murder 
and acquitted. 

Both Kelly and Leon made their reappearance 
the following year, but business began to de- 
cline and they soon after gave up the house. 
Several others tried to keep the place open but 
without success. On November 25, 1872, Kelly 
and Leon again took possession, and three days 
later the building was destroyed by fire. The 
theater was not rebuilt, and Kelly and Leon's 
Minstrels soon after passed into history. 

Driftwood of the Stage. 255 

There are striking comparisons between the 
present and past methods of minstrel entertain- 
ment. Public taste in any country is liable to 
change, but in the United States it is especially 
capricious, and in no activity of life, perhaps 
is this fact more noticeable than on the stage. 
The forms of entertainment that amused the 
public and paid the managers years ago are 
largely obsolete to-day. To the cultured mind 
the bills now no doubt read better, and the per- 
formances are more refined, but for real, unadul- 
terated fun the past and the present in this rela- 
tion are not to be compared. Nowadays who 
ever hears of a song and dance team? When 
the old song and dance performers died, and 
few of them are on this side of the final curtain, 
their line of business like that of the minstrel 
generally, seemed to go out of date. 

Mclntyre and Heath of the old ones are really 
about the only team which started in as black 
face song and dance men who maintained their 
reputation and continued popular. For thirty 
years they retained their popularity because they 
dropped the song and dance form of perform- 
ance and appeared in short sketches, which gave 
their original fun-making propensities a more 
attractive foundation. Tom Lewis and Sam J. 

256 Driftwood of the Sta^e. 

Ryan for a number of years presented the old- 
time minstrel acts on the vaudeville stage and 
were always well received. 

The minstrel business has been gradually de- 
clining, and sooner or later that phase of stage 
entertainment will be abandoned, for a time at 
least. Then it will probably be revived, and 
we may get a taste of the good old-time min- 
strelsy, and the plantation melodies that were 
once so popular. Many of the monologists and 
other vaudeville performers are recruited from 
the minstrel ranks. The jokes are of a better 
order than in former days, and there is less illit- 
eracy among performers. Nowadays a man 
must keep abreast of the times, be in touch with 
current events, and give the public timely stuff. 

It was a long time ago that Emerson, Allen 
and Manning's Minstrels were organized and 
toured the country. Billy Emerson, Johnny 
Allen and Billy Manning were known as fine 
performers in their time, and now all of them 
have passed away. Their company was a suc- 
cess from the start. It was not long, however, 
before Mr. Allen drew out of the organization 
and became a German comedian. He had a 
play called ''Schneider, or the House on the 
Rhine," written for him, and after a long and 

Robert Edeson. 

Driftwood of the Stage. 257 

successful run at the Olympic Theater, New 
York, took the play on the road, where it was 
everywhere greeted with crowded houses. He 
was always surrounded with a good company, 
among whom were Alice Harrison, Little Mac, 
George H. Maxwell, Sid C. France, and others 
of equal prominence. 

Emerson and Manning continued the com- 
pany for some time, when differences arose as 
to policy and they separated. Emerson was a 
favorite in the cities, and had no trouble filling 
his time in the week stands, while Manning took 
to the one-night stands, where the most of his 
popularity had been gained. The company 
headed by Emerson was known as the "Big 
Sunflower Minstrels." The members wore 
flashy clothes, and on the street were generally 
attired in black velvet sack coats bound with 
wide black braid, loud check trousers cut spring 
bottom. Custom at that time allowed a tall silk 
hat to be worn with this style of dress. Dia- 
monds were large and plentiful, and in addition 
every member carried a gold-headed cane at all 
times. By the profession this troupe was gen- 
erally referred to as the "Gold-headed Cane 
Minstrels." Emerson prospered. Manning did 


258 Driftwood of the Stage. 

One Sunday evening at Cincinnati, where the 
Emerson company had played a big week at the 
Grand Opera House, the members were gathered 
at a well known resort drinking beer, listening 
to the music and telling stories. The Manning 
company was to open the next night at Coving- 
ton, over the river on the Kentucky side, and 
its members all came over to Cincinnati to spend 
the evening. Manning strolled up Vine Street 
with no particular destination in view, and hap- 
pened to look into the resort where the Emerson 
party were enjoying themselves, when one of 
the number called out "Hello, Bill." Emerson 
turned his head and there stood his old partner, 
pale, emaciated and shabbily dressed. They had 
not spoken to each other for a long time, but 
when their eyes met past differences were for- 
gotten, and Emerson started for the door and 
soon had his arms around his old friend, and 
led him to the table, where a seat was prepared 
for him. The pleasure of the reunion as well 
as the attentions shown him deeply affected 
Manning, and he took but little part in the fes- 

The party had several tables put together 
around which they were assembled, and when it 
came a person's turn to treat he would rap on 

Driftwood of the Sta^e. 259 

the table with his cane, and at times raise its 
gold top in the air to summon the waiter as well 
as to call attention to the cane. The turn to 
treat soon came round to Manning. The gen- 
tleman next to him had ordered the previous 
round for the party, calling the waiter by rapping 
on the table with his cane as the others had done 
before him. There sat Manning without a cent 
in his pocket, a smile showing through the ashen 
pallor of his face. His ready wit had not de- 
serted him, for he looked up at Emerson and 
said : "Say, Bill, you rap for me. I haven't any 

26o Driftwood of the Stage. 


It was in the latter part of the fifties that the 
music hall business broke out in New York. 
Wood's Minstrels at that time occupied a small 
theater at 444 Broadway, which was first opened 
as a minstrel hall by Henry Wood in opposition 
to the Christy Minstrels, then located at 472 
Broadway. Mr. Wood was very successful, 
especially as he secured George Christy, who, 
leaving E. P. Christy, took the bone end of 
Wood's troupe, with Jim Budworth on the tam- 
bourine end. The company being a strong 
one soon carried the town, and the original 
Christy giving up the business, they had the 
minstrel field practically to themselves. After 
remaining at that house for two or three years, 
Mr. Wood moved his company to a new and 
larger hall on the west side of Broadway, near 
Prince Street, which became known as Wood's 
Marble Hall. 

Robert W. Butler soon after took possession 
of the hall at "444," and opened the first variety 
theater in the city. Specialties were few at that 

Driftwood of the Stage. 261 

time but a strong company was secured. Tony 
Pastor, who had been a circus clown up to this 
time, later joined the company, and became 
famous as a comic singer. 

This theater was a long, narrow hall with a 
low ceiling. Smoking was allowed, and when 
the little red curtain was raised a bill was pre- 
sented that included three or four negro acts, 
banjo playing, clog dancing, comic singing, a 
ballet, a fancy dance or two, and a pantomime. 
This was the vaudeville show of that day. 

In the summer of 1865, Mr. Pastor secured 
the theater at 201 Bowery, formerly occupied by 
Hooley and Campbell's Minstrels. This was a 
neat little place. No smoking was allowed and 
it soon became the leading variety theater. Many 
members of the opening company had come from 
"444" with Tony, and for the first season there 
was little change in the style of entertainment. 
The next year it was different, and novelties 
were sought for, some being brought from 
across the water. Among the first specialists at 
this house was Walter Brown, the champion 
oarsman, who swung Indian clubs. They were 
called Kehoe clubs in those days because they 
were made by a man named Sim Kehoe. They 
were cumbersome things and generally used at 
athletic exhibitions. 

262 Driftwood of the Sta^e. 

Nellie Clark was the first lady club swinger 
and DeWitt Cooke the first to do a juggling 
act with them. Harry Gurr, the first man-fish, 
performed under water in a large glass tank, 
and Millie Tournor was the first lady to do the 
flying trapeze. Naomi Porter was the first lady 
jig dancer, and Jennie Benson the first lady to 
do a clog. The first female double song and 
dance was done by Addie LeBrun and Helena 
Smith. The first magician on the vaudeville 
stage was Prof. Robert Nickle, and Herr Hol- 
tum was the first to come along with a cannon 
ball act. A couple of new acts from Europe 
were Leggett and Allen in a pedestal clog dance, 
and James McDonald, who danced on a high 
pedestal with a pair of skates. 

Will Carleton, a famous Irish singer and 
dancer, was brought from Europe about this 
time and made an instantaneous hit. Then the 
sketch teams sprang up. John and Maggie 
Fielding introduced their Irish sketch, "Barney's 
Courtship," in 1868, and Baker and Farron a 
German sketch called "Schneider's Courtship," 
about the same time. Bowman and Harris made 
their first New York appearance in their unique 
black face specialty during the same season, and 
Mile. Louise, the first lady drummer in vaude- 
ville, appeared on the same bill. 

Driftwood of the Sta^e. 263 

At one time Mr. Pastor engaged a pedestrian 
called Young Miles to do a walking act on his 
stage. A timekeeper was selected from the aud- 
ience, the stage manager would tell how many 
laps there were to the mile, and away he would 
go around the stage. The mile was generally 
made in eight minutes. Would they tolerate 
anything like that now? 

Johnny Thompson is the oldest of the musi- 
cal artists on the stage. He played on a number 
of musical instruments in a specialty called 
"The Lively Moke," as far back as 1864. 
Master Allie Turner, the infant drummer, did 
a drum solo at Barnum's Museum a year later. 
W. B. Harrison sang extemporaneous songs, 
accompanying himself on the violin. Matt 
O' Rear don introduced the musical glasses to 
the stage, and E. C. Dunbar an instrument 
called the Musette. Conway and Kerrigan had 
an act where one played the bagpipes while the 
other danced. The first cornet player of note 
to do a solo on the stage was Jules Levy, who 
played in the olio with Allen, Pettingill, Dele- 
hanty and Hengler's Minstrels many years ago. 

Mortimer Williams had a specialty that was 
called "Half Bushel Measure Jig," which was 
danced on the inside, outside, and all over a 

264 Driftwood of the Stag^e. 

half bushel measure, and Signer Bueno Core, a 
fire king, finished his act by heating an iron 
plate red hot in the presence of the audience, 
and dancing upon it with his bare feet. The 
Hanlon Brothers were the first to introduce the 
bicycle, then called velocipede, to the stage, and 
Alice Harrison the first lady to ride a bicycle 
on the stage. 

Marietta Ravel danced on a tightrope at the 
Canterbury Varieties, New York, in i860, and 
a couple of years later El Nino Eddie, a very 
small boy, did an act of this kind. Alfred Moe 
was the first to do a roller skating act on the 
stage. Later he took a partner named Good- 
rich and they did a double skating act. Carrie 
Moore was the first female skater on the stage. 
Charles E. Collins, a comic vocalist and dancer, 
came over from England in 1863, and became 
a great attraction in a vocal dancing act which 
he called "The Cure." Prof. Hilton was the 
first ventriloquist in vaudeville. 

Billy Courtwright and J. W. McAndrews 
each made a phenomenal hit in one character. 
In the knock-about, jump-about, hammer the 
floor exhibition during which he sang "Flewy, 
Flewy," Courtwright was for years a star at- 
traction among variety theatergoers. A valise 

Driftwood of the Stage. 265 

and an umbrella were part and parcel of the 
performance. He created a great deal of fun 
for many years by this one performance, but 
after a while, like most of the old one-part per- 
formers, really outlived his power to amuse. 
J. W. McAndrews, the "Watermelon Man," 
confessed long before he died that he could only 
do this one turn, and for years nobody wanted 
to see him in anything else. 

Bobby Newcomb, by long odds the most 
graceful and pleasing single song and dance 
performer — this is admitted by theater people 
to-day — w^ho ever appeared on the variety 
stage, was a prime favorite up to his death. 
"Love Letters" was perhaps his most popular 
song and dance. He was not old at his death, 
yet he had been before the public for a quarter 
of a century. He was adopted when quite 
young by Billy Newcomb, the once famous 
minstrel and took his name. A team of song 
and dance men, who are now well nigh for- 
gotten, but who will be readily recalled by the- 
atergoers of less than a quarter of a century 
ago, as top liners among the black face knock- 
abouts of the variety stage were Lester and 
Allen. They were easily the best in this line 
among their contemporaries, and were prime 

266 Driftwood of the Sta^e. 

favorites. They will be recalled as two of the 
original Big Four, their partners at one time 
in this aggregation being Smith and Waldron. 

Another team of the song and dance variety, 
but of slightly more refined characteristics, 
and in white faces instead of black, was Sheri- 
dan and Mack. They appeared in German 
specialties largely, and in their day were con- 
sidered the best in their line. They were the 
originators of their line. Charley Diamond, the 
Milanese minstrel, a graceful dancer and a 
rather sweet singer, was likewise a one-part 
performer, but he was a popular attraction, and 
was rated among the high-priced variety people. 
He sang and danced to a harp accompaniment, 
carrying the harp strung on his shoulders. He, 
too, was original in his line, and it is not re- 
called that he ever had a direct imitator. 

Many claim the distinction of being the first 
to do a monologue, and it would be hard in- 
deed to give an opinion as to who was the 
originator of this specialty. Archie Hughes 
used to do a specialty in the latter part of the 
sixties in which he would tell gags between 
the verses of a song called "George, the 

A young fellow once claimed that he was 

Driftwood of the Sta^e. 267 

the first to do a cakewalk on the stage. He 
did not seem to know that Edward Harrigan 
wrote a song, "Walking for Dat Cake," which 
included some fancy promenade steps by the 
participants, in the early seventies. The first 
tramp in vaudeville was Johnny Wild in a 
sketch called "A Terrible Example," about the 
same time. William Horace Lingard was the 
first to do a quick change act in this country, 
and Annie Hindle was the first male imperson- 
ator. Major John E. Burk introduced us to 
the fancy zouave drill, and Johnny Williams 
gave us the first glimpse of good dancing with 
his Lancashire clog. Tom Bollas was about 
the first German singing comedian, and Nick 
Norton and Billy Emmett were the first Ger- 
man team, working together at Buffalo, N. Y., 
in 1864. 

The Olympia Quartet (Keough, Randall, Sul- 
livan and Mack), started out together in 1877, 
but were not the first. Before them were the 
"Ham-Town Students" and the "Four Pro- 
phets," who sang negro jubilee songs. 

The first pugilist on the vaudeville stage was 
Sam Collyer. As to this gentleman's versa- 
tility, it need only be said that on one bill at 
Pastor's on the Bowery he did a triple clog 

26^ Driftwood of the Sta^e. 

dance with his two *'sons," played the banjo 
in a sketch called "The Challenge Dance," and 
closed the show with a drama called "Dan Don- 
nelly, the Champion of Ireland," in which he 
played the title role and gave a boxing exhibi- 
tion with Barney Aaron. At other times, he 
played the aged darkey in "Uncle Eph's 
Dream," and occasionally would give a fine ex- 
hibition of club swinging. 

There used to be a lot of good acts on the 
stage that we do not see any more. There was 
King Sarbro with his slide for life ; Link Look, 
fire eater and sword swallower; A. W. Maflin, 
the spade dancer; Crossley and Elder in their 
Caledonian sports, and Harry Leslie, the tight 
rope walker, who carried a man on his back 
from the stage to the upper gallery. Yank 
Adams had a billiard table on the stage, and 
made all kinds of caroms and fancy shots, using 
his fingers instead of a cue to propel the ball. 

Of the old-time legitimate actors, are best 
remembered Edwin Forrest in "Metamora" 
and "Coriolanus," Mr. and Mrs. Barney Wil- 
liams in "The Connie Soogah," Frank S. 
Chanfrau as Mose, John E. Owens as Solon 
Shingle, Edwin Adams as Enoch Arden, John 
S. Clarke as Toodle, Frank Mayo as Davy 

Driftwood of the Staf^e. 269 

Crockett, Charlotte Cushman as Lady Mac- 
beth, Matilda Heron as Camille, and Maggie 
Mitchell as Fanchon. 

Some of the grand performances given in 
by-gone days were those of "Oliver Twist," 
for the benefit of the Chicago fire sufferers in 
1 87 1, in which Lucille Western played Nancy 
Sykes. Augustin Daly gave a grand produc- 
tion of this play at the Fifth Avenue Theater, 
New York, May 19, 1874, with Charles Fisher 
as Fagin, Louis James as Bill Sykes, Fanny 
Davenport as Nancy, Bijou Heron as Oliver, 
and James Lewis as the Artful Dodger. The 
revival of "The Octoroon" at Barnum's 
Museum in 1867, with Milnes Levick, George 
Brookes and Mrs. J. J. Prior in the cast; J. 
W. Wallack in "The Bells," at Booth's Thea- 
ter in 1872, and the benefit for the family of 
Dan Bryant at the Academy of Music, New 
York, April 29, 1875. At the last named en- 
tertainment a chorus of minstrel singers sang 
"Massa's in the Cold, Cold, Ground," in a 
manner never to be forgotten. On that day 
benefit performances were given in ten different 
theaters at New York, for the widow and chil- 
dren of Mr. Bryant, the receipts of which to- 
gether with the donations amounted to over 

270 Driftwood of the Sta^e. 

P. T. Barnum lost three of his museums by 
fire — the one on the corner of Broadway and 
Ann Street, July 13, 1865; at Broadway near 
Spring Street, in March, 1868, and on Four- 
teenth Street, opposite Tammany Hall, Decem- 
ber 24, 1872. In 1866 three theaters burned 
in New York. The American Theater, better 
known as "444," on February 15; the Academy 
of Music, May 22, and the New Bowery 
Theater, December 15. Niblo's Garden was 
destroyed by fire May 7, 1872, and Winter 
Garden, March 23, 1867. An attempt was 
made to burn this theater on November 25, 
1864. The Confederate plot to set fire to the 
hotels and theaters of New York was to be 
carried out that night, and the Lafarge House, 
w^hich adjoined the theater, was set on fire by 
the conspirators. The house was crowded, the 
three brothers Booth — ^Junius Brutus, John 
Wilkes and Edwin — appearing in "Julius 
Caesar," for the benefit of a fund to erect a 
statue of Shakespeare in Central Park. The 
firmness and presence of mind of the police 
alone prevented a terrible loss of life. A Con- 
federate officer named Kennedy was arrested ^ 
for being implicated in the plot, convicted, and 
hanged at Fort Lafayette three months later. 

Driftwood of the Sta^^e. 271 


On the ledgers of most of the amusement 
enterprises will be found a curious item of ex- 
pense, which to the profession is known as a 
"shakedown." It is the result of an adage that 
it is perfectly legitimate to beat the showman. 

Why is it that lawyers, business men and 
town officials who are irreproachable in their 
conduct towards their fellow men during the 
remainder of the year, set their wits to work 
the minute a stand of show bills goes up? 
When the village lazybones wants some money 
to carry him along for the rest of the year with- 
out the trouble of working for it, he proceeds 
to fall through the seats, and a lawyer will soon 
show up with an attachment for the manager 
to stay right where he is until his client has 
received a few hundred dollars for fancied in- 
juries. As the showman cannot stop for a single 
day without damaging his prestige and can- 
celing valuable dates, he pays up, and calls it a 
"shakedown" on his ledger. 

An alderman who made a demand on the 

272 Driftwood of the Sta^e. 

manager of the leading theater in his city for 
ten seats for an attraction playing to advanced 
prices was told that it would be impossible to 
grant his request, but the house would pro- 
vide seats for himself and wife. This would 
not do. The tickets had been promised to his 
constituents and if not forthcoming there would 
be trouble. Reason was out of the question, 
and the city father vowed vengeance. It was 
not long after that an ordinance was presented 
to the city council regulating the scale of prices 
to be charged in theaters, the attention of the 
fire department was called to the insufficient fire 
protection and the building department got busy 
suggesting expensive alterations. All proceed- 
ings came to a sudden stop when the manager 
subscribed five dollars towards purchasing a 
gold badge for presentation to the alderman, 
and which was duly entered in the "shake- 
down" column. 

Nearly all of the large traveling organiza- 
tions have on their staff one to whom all com- 
plaints and grievances are referred. He is 
called either a "squarer" or a "handy-boy." His 
duties are to protect the company from losses of 
all kinds, especially "shakedowns." I^or nearly 
half a year he follows the white tents. Every 

Driftwood of the Sta^e. 273 

morning he is up at the break of day, and the 
last to retire at night. His services are liable 
to be required at any minute. Incidentally he 
will interview the mayor when the license is 
thought to be excessive, and on the way back 
pick up a small boy who has got tangled up in 
the parade, and safely land him on the side- 
walk, or perhaps take a frightened horse by 
the head until the caliope has passed. 

It is necessary that he should be a man of 
sound judgment, a good talker, affable at all 
times, and with enough knowledge of common 
law to hold his own with the pettifogging 
lawyer, who is a constant source of trouble. 
With Chesterfieldian grace he must calm the 
woman who has been caught in the jam at the 
ticket wagon, and just as politely inform those 
who are following the company for the purpose 
of fleecing its patrons to get away and stay 
away from the show, giving them at the same 
time to understand if they are again seen 
around the lot a few canvasmen will be turned 
loose at them. 

On a Sunday morning during the season of 
1887, the train carrying the Miller, Okey and 
Freeman Circus rolled into Easton, Pa., where 
the company were to exhibit the following dav. 


274 Driftwood of the Sta^e. 

When the employes started to unload the cars 
they were stopped by the authorities with the 
information that they would not be allowed to 
unload or haul their belongings through the 
streets on Sunday. The "handy-boy" soon 
discovered it was the work of a so-called law 
and order league, and sought out the officers 
of the society and asked permission to unload 
the animals and erect the horse and cook tents, 
promising to leave all other work until the 
following day. Those having the matter in 
charge refused to allow work of any kind to be 
done. The city officials were appealed to, but 
gave no satisfaction. The "handy-boy" saw 
but one way out of the dilemma. He called on 
the president of the society for the prevention 
of cruelty to animals and stated his case. It 
was shown how much suffering would be caused 
by the animals being confined in crowded cars 
for a whole day. Arrangements could be made 
for feeding the people at hotels and restaurants 
if they would only allow the dumb creatures to 
be properly fed and cared for. The two socie- 
ties at once commenced a fight for supremacy. 
The cause of the humane society was espoused 
by many, and the company was allowed to un- 
load and put up shelter for its animals, and the 

Kthei. Barrymore. 

Driftwood of the Stage. 2yc^ 

cook tent to feed the employes. The following 
day the rest of the canvas was put up, two per- 
formances given, and the company went away 
leaving the Law and Order League and the 
Society for the Prevention of Cruelty to Ani- 
mals engaged in a fight that was a long and 
bitter one. 

The proprietor of a well-known minstrel 
company, himself a musician of note, took great 
pride in the band of the organization, the mem- 
bers of which were handsomely uniformed and 
selected with great care, each being a soloist on 
the instrument he played. A set of gold instru- 
ments were manufactured expressly for them, 
and the band was billed as "The $10,000 Chal- 
lenge Gold Band. The Best Band Traveling!'' 

During the parade in a small Ohio town a 
horse shied, and in consequence a slight dam- 
age was done to a buggy belonging to a resi- 
dent of the town, who rushed to a lawyer's 
office and began a suit for damages. The man- 
ager was taken before a justice of the peace on a 
civil warrant, and in the complaint appeared 
the following: "And then and there a body 
of mountebanks, commonly called minstrels, in 
odd, grotesque, and unusual dress, and carry- 
ing with them a number of brass, wooden, and 

2'j(y Driftwood of the Sta^^e. 

other horns, bugles, trumpets, cymbals and 
drums, did on said horns, bugles, trumpets, 
cymbals and drums, make and perform loud, 
hideous and discordant noises and sounds to 
the great discomfort and annoyance of the citi- 
zens of said city and county, then and there 
lawfully assembled, and by reason of said loud, 
hideous and discordant noises and sounds, did 
then and there frighten horses, mules, and other 
beasts of burden in use by said citizens," and 
so on. Experience had taught the manager that 
a fight was useless and he settled, paying twenty 
times the amount of the damage. He left the 
court room with a look of sorrow on his face. 
He did not care for the money. It was what 
they said about the band. 

One of the small towns in Illinois which had 
been founded by Quakers and populated princi- 
pally by members of that sect, gave no encour- 
agement to traveling companies and would al- 
ways refuse permission to the circus. The 
advance representative of a circus company 
wished to give a performance in the town, and 
knowing the feeling of the authorities on the 
subject, called on one of the leading business 
men and sought his aid in bringing the com- 
pany to the place. The case was presented to 

Driftzvood of the Sta^^c. 277 

the merchant in a business-like manner; he was 
told of the crowds that would come from the 
country, the money that would be spent by the 
visitors, and on seeing that his arguments were 
having no weight on his auditor, the agent 
stated that the date on which they wished to 
visit the town happened to be pay day with the 
company, and their three hundred employes 
would be liable to spend a goodly sum with the 
storekeepers. Several other business men were 
called in to listen to the story, which was re- 
peated for their benefit, and after a conference 
among them the agent departed with the desired 
permission, much elated at his success. 

The show arrived as advertised, and was the 
first spread of canvas ever put up in the place. 
Just as the morning parade was about to take 
place three sober-faced town officials called at 
the ground and asked to see the party in charge. 
The manager received them politely, thinking 
they wanted to look over the outfit, and was 
about to detail one of the men to show them 
around, when the visitors informed him that 
they were given to understand the company 
employed three hundred people in different ca- 
pacities and wanted to take down their names 
before the license to exhibit would be signed. 

278 Driftwood of the Sta^e. 

The heads of departments were quickly gotten 
together and tables were arranged for the offi- 
cials who were to take the names. The com- 
pany carried less than one-half of the number 
mentioned but that did not matter. One of the 
men in a red coat would be registered as a mem- 
ber of the band, later in a gray coat and under 
a different name as a driver, and again in over- 
alls as a hostler, and so on until the required 
number was obtained, and the officials departed 
as quietly as they came. 

No one could imagine what was up. Here 
w^ere men who had passed through all kinds of 
"shakedowns" trying to figure out what was 
to be the outcome of the visit of the three mys- 
terious Quakers. Great care was exercised all 
through the day so there could be no cause for 
complaint by anyone. Everything passed off 
in an orderly manner, but not until the last car 
was loaded and the train had left the town did 
the management feel easy. The company left 
a man behind to see what might turn up, and 
his report a few days later explained all. 

It seemed the Quakers were anxious to 
abate the saloons in their midst, and to do this 
the straggling village must necessarily be in- 
corporated as a city, and under the laws of the 

Driftwood of the Sta^^e. 279 

state no town with less than one thousand popu- 
lation could be incorporated. They had waited 
until the circus came along, a census was taken, 
the three hundred names thus gained showing 
an excess of the required number of people and 
soon followed the incorporation. It was a case 
of "shakedown" pure and simple, but this was 
one of the times that the showman was not the 

It is surprising to see how many people have 
claims on the amusement enterprise for favors 
and will make trouble if they do not get them. 
The man who hauls the baggage wants tickets 
for everybody he knows, or look out for damage 
to the belongings of the company. Around the 
railway station there are several who must be 
looked after or something will happen to make 
you more careful in the next town. Then come 
the city and county officers, the constables and 
policemen. Not one of them was ever known 
to come alone, it seeming to be their duty to 
pick up all they can on the way and bring them 
along. The city clerk who has done nothing 
but receive his regular fee for making out the 
license, drops in with several of his friends and 
feels insulted if you do not admit all of them. 
You must not forget the bill poster, he also 

28o Driftwood of the Sta^e. 

has a lot of friends. Slight him and you might 
as well cut that town out of your visiting list, 
for if you should come again your paper could 
not be found with a search warrant. Around 
the hotel you must show no favoritism. Passes 
for everybody, from proprietor to bell-boy, or 
you may ring the bell to your heart's content, 
and between the kitchen and dining-room help 
you will get all that is coming to you for daring 
to bring a show into town and not provide them 
with tickets. 

These people have been paid for all the ser- 
vices they have rendered, then they demand 
more. In other walks of life this would be 
called blackmail. In the amusement world they 
prefer to call it a "shakedown." 

It is strange how much time and sometimes 
money will be spent to gain free admission to a 
place of amusement. A company was playing 
an interior town in New York, and an old 
farmer hunted up the manager at the hotel and 
proceeded to become friendly. He bought 
drinks and cigars and was so good natured he 
could not be shaken off. After he had hung 
around all day. and was still patting the mana- 
ger on the back, he was asked the reason for his 
kind attention, and in an honest way replied: 

Driftwood of the Stag^e. 281 

"Well, you are the man who gives out free 
tickets to the show and I thought mebbe I could 
work in on you/^ 

As a reward for his honesty he was given a 
season pass, and pains were taken to explain 
to him that while the company would be in that 
town but one night, the pass would be good 
wherever the show played during the season. 
The old chap was tickled half to death, and that 
night he was the first one in the theater and 
the last one to leave. He was at the depot the 
next morning and went along to the next town. 
In fact, he followed on for a week, and was 
ready to stand treat at any time. At the end 
of a week he began to get uneasy and count up 
his change, and when it was seen that he was 
about ready to let go he was asked if he had 
enough of theatricals. 

''It's my money that has give out," he re- 
pHed. "I'm right down to sixty cents, and 
have got to telegraph for money to get back 
home. If I'd only had time to prepare for it 
I'd have sold some cattle and gone right 
through to California with you. By John, but I 
hate to give up this pass." 

"How much will you take for it?" the man- 

282 Driftwood of the Sta^e. 

ager asked, curious to know what value he set 
on it. 

"Well, bein' as you give it to me in the first 
place, and bein' as everybody has used me first 
rate, Til tell you what I'll do. Gimme my fare 
home and fifty dollars in cash and she's yours." 

Driftzvood of the Stage. 283 


Complaints have frequently been made by 
American actors filling engagements in Eng- 
land, especially in London, that they seldom 
receive courteous treatment while there. The 
coldness of the audiences, the merciless criticism 
of the press, and other annoyances to which 
they are subject, has a tendency to impress on 
the mind a concerted attempt by the English 
people to embarrass the actor, and a disposition 
to show a hostile feeling against American 
artists and enterprises. 

Of course, allowance must be made for na- 
tional prejudice that can never be wholly ef- 
faced. The English playgoer strenuously up- 
holds the right to hiss a performance as one 
of the prerogatives of his admission fee, or if 
he feels so disposed, to sit through the play in 
solemn silence. While there are a number of 
American actors who have met with hospitality, 
fair play and appreciation in Eingland, at the 
same time there are many more who have been 
received in a manner far different from what 
they deserved. 

284 Driftzvood of the Stage. 

While a generous welcome generally awaits 
the English actor's visit to our shores, there 
have been cases where the Englishman's path- 
way was not strewn with roses. Edmund Kean 
was received on his opening night at New York 
with such an uproar that he could not be heard, 
and at Boston he was assailed by a veritable 
rain of apples, potatoes, gingerbread, and bot- 
tles filled with asafoetida. A few years later 
William C. Macready had to flee for his life. 
No violence was offered to Barry Sullivan, but 
his treatment was far from courteous. 

It seems rather strange that in all the bi- 
ographies and reminiscences that have been 
written by prominent players, not one of them 
mentions the name of Barry Sullivan, one of 
the best Shakespearean readers and scholars of 
his day. Even in Joseph Jefferson's delightful 
autobiography, no mention is made of Mr. Sul- 
livan, although Mr. Jefferson played Graves 
to the Evelyn of Mr. Sullivan in the comedy of 
"Money," at the Princess Theater, Melbourne, 
Australia, in 1862. A supper was tendered 
those gentlemen and the two captains com- 
manding the ships that took them out to Aus- 

As a man Mr. Sullivan was not very well 

Driftwood of the Staf^e. 285 

liked. To some he appeared cold and distant, 
and his jealousy of other actors was almost 
childish. Yet, with these failings, he was one 
of the most versatile actors the stage ever knew 
— equally good in tragedy, comedy, Irish 
drama and farce. He was also an admirable 
manager. He was master of all the duties and 
details connected with a theater, from those of 
call boy up. 

Barry Sullivan's first appearance in America 
was made at the Broadway Theater, New York, 
November 22, 1858, in the character of Ham- 
let. Personations of Claude Melnotte, Mac- 
beth, Shylock, and Richard III. followed. A 
month later he opened at Burton's Theater in 
the same city, at which house he was princi- 
pally supported by William Davidge, J. H. 
Allen, Fanny Morant and Ada Clifton. 

In some of the cities afterward visited he 
encountered a spirit of malignant persecution. 
During his first engagement at the Walnut 
Street Theater, Philadelphia, he was charged 
with spitting at Harry Perry, who was playing 
Richmond, in the last act of "Richard III," the 
partisans of that actor construing a characteris- 
tic bit of stage business on the part of the Irish 
tragedian into a personal insult to their favorite. 

286 Driftzvood of the Sta^e. 

There can be no doubt, furthermore, that the 
ill-feeling excited by this mistaken impression 
was considerably aggravated by a remarkable 
passage at arms which Mr. Sullivan had at this 
time in this very theater with the great Edwin 
Forrest. When not acting himself, the sten- 
torian American tragedian had a habit of going 
to see whatever rival player happened to be in 
the neighborhood, and noisily expressing his 
disapproval of any passage not delivered to his 
liking. It has been said that during this en- 
gagement Mr. Forrest went to see him play 
Hamlet, and was so disgusted with Mr. Sulli- 
van's resemblance to Mr. Macready that he an- 
noyed both players and audience by frequent 
interruptions and other evidences of disappro- 
bation. It may be of interest to this genera- 
tion to know that Mr. Forrest's hatred of 
Macready developed into an international ques- 
tion, and culminated in the Astor Place Opera 
House riot in May, 1849, when it was neces- 
sary to call out the military to quell the mob. 
At the time of Mr. Forrest's second visit to 
London, which occurred in 1845, he appeared 
at the Princess Theater, London, as Macbeth. 
On this occasion he was hissed, which indignity 
he ascribed to the intrigues of Macready. The 

Driftwood of the Sta^e. 287 

following year Mr. Forrest hissed Macready's 
Hamlet at Edinburgh. On his return to this 
country, Mr. Forrest played to houses crowded 
night after night, for a month or more. He 
was then at the height of his popularity; it was 
before the Forrest divorce suit brought his 
name so unpleasantly and so unhappily before 
the public. 

Mr. Forrest was much beloved by that singu- 
lar and now extinct product of New York life, 
the Bowery boy. The volunteer fire department 
gave birth to the Bowery boy, who worked for 
his living on week days, and on evenings and 
holidays aimed only to be a dandy and a fire- 

His hair was cropped at the back of his 
head as closely as scissors would cut, while the 
long front locks were stiffened with bear's 
grease, and then brushed until they shone like 
glass. His face was closely shaven, as beards 
in any shape were considered effeminate, and 
so forbidden by his creed. A black, straight 
broad-brimmed silk hat was worn with a pitch 
forward and a slight inclination to one side, in- 
tended to impart a rakish air. A large shirt 
collar turned down and loosely fashioned so as 
to expose the full proportions of a brawny neck ; 

288 Driftwood of the Sta^e. 

a black frock coat with skirts extending to the 
knee; a flashy satin or velvet vest, cut so low 
as to expose the entire bosom of an embroidered 
shirt; trousers tight to the knee, thence grad- 
ually swelling in size to the bottom so as to 
nearly conceal the feet encased in well-polished 
boots — these with much jewelry, a voice mod- 
eled after that of the fire trumpet, and a lan- 
guage all his own completed the picture of the 
Bowery boy — first at fires, devoted patron of 
the theater, and loyal to his friends and his 
country. Rough, rather than tough, he scorned 
to use any weapons save those that nature gave 
him. Few there were in the days of his glory 
that could compel his reverence. 

The volunteer fireman at that time was a vast 
power in New York. He received no compen- 
sation from the city. Where his duty led him 
there he went; and when honest motives 
prompted him he acted accordingly. 

The fire boys fairly idolized Jenny Lind. She 
gave $3,000 to the Widows' and Orphans' 
Fund of the Fire Department, and to show their 
gratitude, the firemen held a public meeting, and 
in a gold box, purchased by subscription for 
the purpose, conveyed to the singer the reso- 
lutions passed at the meeting. On the lid of the 

Driftwood of the Sta^e, 289 

box was a scroll with this inscription: "The 
Firemen of New York to Miss Jenny Lind, 
September 13, 1850." They also gave her a 
handsome rosewood bookcase containing Audo- 
bon's ''Birds and Quadrupeds of America." At 
one of her concerts these new found friends 
quite upset the singer's gravity by crowding 
the house and on her appearance rising to their 
feet and welcoming her with three cheers. 

Catharine Hayes was another of their favor- 
ites. She gave a concert for their Fund and 
they never forgot it. When this lady arrived 
in California she found that many of these New 
York boys had preceded her in the search for 
gold, and each had constituted himself an ad- 
vance agent to herald her coming. Miss Hayes 
was a great success in California, but through 
the failure of her bankers, she lost all. A 
benefit was given her and the fire boys had 
charge of the affair. The seats were sold at 
auction. The bidding on the first seat was 
spirited. An admirer bid as high as $1,050, 
but finding he was contending against a wealthy 
fire company, withdrew. The company finally 
paid $1,250 for the coveted seat, and the gen- 
tleman took second choice for $1,000. 

To these loyal fellows Mr. Forrest was the 


290 Driftwood of the Sta^e. 

greatest actor in all the world. An insult to 
him was an insult to them. They seemed 
banded together as one. On a banner carried 
by one of the companies was this inscription: 
"The injury of one is the concern of all," but 
this motto was simplified by them with the 
saying "Hit one, hit all." Their loyalty to 
country was shown at the outbreak of the civil 
war, when a regiment of 1,200 of these brave 
laddies was organized by Colonel Ellsworth, 
and one of the first to arrive for the defense of 
the capital. In one case, every single member 
of a fire company volunteered for two years of 
the war. In the old New York Volunteer Fire 
Department one company was known as For- 
rest Engine, No. 3, and another as Edwin 
Forrest Hose, No. 5, in honor of the great tra- 
gedian. Metamora Hose, No. 29, was named 
in honor of one of Mr. Forrest's most famous 
characters, that of the Indian chieftain. 

On May 7, 1849, Mr. Macready was an- 
nounced to appear at the Astor Place Opera 
House, New York, as Macbeth. The friends 
of Mr. Forrest well remembered the insult that 
their favorite claimed had been offered him in 
England simply because he was an American, 
and not because of his art. They filled the 

Driftwood of tlie Sta^e. 291 

house and when Mr. Macready appeared a 
storm of hisses was launched at him. Cheers 
were given for Mr. Forrest and groans for the 
Englishman. Finding it impossible to give the 
performance, the curtain was dropped and the 
audience dismissed. This way of treating a 
visitor to our shores did not meet the approval 
of all, and a petition signed by man)- of the city's 
most prominent men was presented to Mr. 
Macready, asking him to finish his engagement 
and the authorities assured him of protection. 

On Thursday evening, May 10, he again ap- 
peared in the character of Macbeth. This night 
thousands came to see what would happen to 
the English actor. His treatment was much 
worse than he had previously received, and he 
narrowly escaped with his life. In the rioting 
that followed twenty-two persons were killed 
and thirty-six wounded. He was obliged to fly 
from the city to save himself from violence, 
and went to New Rochelle, N. Y., where friends 
kept him in seclusion. Shortly after he sailed 
from Boston to his home. 

On February 2, 1852, Mrs. Forrest, under 
her maiden name, Catharine Sinclair, made her 
theatrical debut playing Pauline and Lady 
Teazle, at Brougham's Lyceum, then on the 

292 Driftwood of the Stage. 

south-west corner of Broadway and Broome 
Street, New York. The Forrest divorce suit 
at that time was the all pervading topic of dis- 
cussion and interest; and public feeling was 
strongly for or against the contending parties. 
It was feared that the scenes of the Astor Place 
riot Avould be repeated. The crowds were 
enormous. Indoors a large body of police were 
on hand to preserve order, and the Seventh and 
Twelfth Regiments of the National Guard were 
drawn up on Broome Street in case their services 
were required. There was no disturbance, it 
not being deemed safe or expedient to interfere 
with the performance. 

Returning from, his American trip, which 
extended as far as California, Mr. Sullivan 
made his reappearance in London at the St. 
James' Theater, August 20, i860, as Hamlet. 
His second and last engagement in this coun- 
try was under the management of Jarrett and 
Palmer, and began at Booth's Theater, New 
York, August 30, 1875. 'I'he contract called 
for one hundred performances in the principal 
cities of the country, twenty-one to be given 
at this theater. 

On the opening night he was escorted to the 
theater by the famous Sixty-ninth Regiment, 


Driftwood of the Sta^e. 293 

the city's representative Irish organization. The 
regiment, more than 1,000 strong, in full uni- 
form, helped to pack the house. Immense 
crowds blocked the streets and a large force of 
police was necessary to keep a passage for the 
cars. No seats were to be had at the box office, 
and speculators were selling what they had 
secured at five dollars each. The crowd began 
to collect around the theater early in the even- 
ing and by eight o'clock fully 20,000 persons 
surrounded the building. The theater could 
only accommodate 3,000, so the remainder were 
contented to wait outside until midnight in or- 
der that they might get a glimpse of Mr. Sulli- 
van, and have the satisfaction of escorting him 
to his hotel with bands and a torchlight pre- 
cession. The Irish colors were much in 
evidence, the exterior as well as the interior 
being handsomely draped, and the orchestra 
gave a program of Irish selections. The 
play was "Hamlet," with James F. Cathcart 
as the Ghost, Frederick B. Warde as Laertes, 
and Louise Hibbert as Ophelia. 

On the same night E. L. Davenport, a 
formidable rival, played the Dane at the Grand 
Opera House, two blocks away. In his sup- 
port were Robert Johnston as the Ghost, Joseph 

294 Driftwood of the Sta^e. 

Wheelock as Laertes, and Laura Don as 
Ophelia. This theater was profusely decorated 
inside and out with American flags, and the 
orchestra played national airs, in which the 
audience joined in singing. After the perform- 
ance the supporters of the American Hamlet 
marched through the streets, singing patriotic 
songs, to the Fifth Avenue Hotel, where Mr. 
Sullivan was being serenaded by the band of 
the Sixty-ninth. The police were prepared for 
any clash that might happen between the rival 
factions, but none occurred. 

In July, 1886, Henry E. Abbey made over- 
tures to Mr. Sullivan for a tour of this coun- 
try to continue forty weeks, and to include the 
larger cities of the United States and Canada, 
but the offer was declined on account of ill- 
health. In the following year he bade fare- 
well to the stage, when he brought his engage- 
ment at the Royal Alexandra Theater, Liver- 
pool, to a close on June 4, 1887, with an 
impersonation of Richard III. Not long after 
this, while he was telling friends who were 
visiting him some reminiscences of his early 
days, he fell back in his chair stricken with 
paralysis. He wasted away under the devasta- 
tions of this terrible disease, and on May 3, 

Driftwood of the Stage. 295 

1 89 1, in the presence of his entire family he 
quietly passed from earth. Five days later all 
that was mortal of poor Barry Sullivan was laid 
in its last resting place in the beautiful Glas- 
nevin Cemetery at Dublin, Ireland. 

296 Driftwood of the Stage. 


A party of stage folks were gathered to pay 
their last respects to an actor who had passed 
away. A carefully arranged American flag on 
the casket showed that he had also been a 
soldier. Flowers were the tributes of friends, 
the flag the tribute of the entire nation. 

There was a time when there were a large 
number of veterans of the civil war in the pro- 
fession. Each fought for what he deemed the 
right, and on their respective memorial days 
loving hands strew flowers on the grave of the 
actor who fought for the cause that won, and 
with the same feeling decorate the grave of 
the one whose cause was lost. It would take 
much space to record all their names. Thou- 
sands of stage folks who made noble sacrifices 
to serve their country have passed away, among 
whom will be found such names as Daniel H. 
Harkins, William E. Sheridan, Henry C. 
Miner, Harry Kernell, Nate Salsbury, and 
others of equal prominence. 

It might be well to also mention Jean Daven- 

Driftwood of the Stage. 297 

port Lander, who ranked among the most 
accompHshed tragic actresses of her day. She 
became the wife of Colonel Frederick W. 
Lander, a civil engineer, in i860. When the 
war broke out Colonel Lander joined the Union 
army, was made a general and killed in battle 
on March 3, 1862. Mrs. Lander, who at the 
time of her marriage had retired from the stage, 
did not return to it for several years, preferring 
in the meanwhile to devote herself to the cause 
in which her husband's life had been given up. 
That cause she served as a hospital nurse at 
Washington, and later she took entire charge 
of the hospital department at Port Royal, S. C, 
and rendered good service to her country in ad- 
ministering aid and comfort to the wounded 
and dying soldiers. Charlotte Cushman gave 
benefit performances at New York, Phila- 
delphia, Boston, Washington and Baltimore for 
the relief of sick and wounded soldiers, realizing 
the sum of $9,000, which was turned over to 
the United States Sanitary Commission. 

James E. Murdoch, one of the greatest of 
American tragedians, was under engagement 
to open at Pittsburg during the excitement 
caused by the attack on Fort Sumpter. On his 
arrival there he found that his youngest son 

298 Driftwood of the Sta^e. 

had enlisted and started for Washington with 
the Cincinnati Zouave Guard, and had passed 
through Pittsburg only a few hours before his 
arrival there. Though Mr. Murdoch's name 
was on the bills for that night he determined 
to follow his son, and locking up his trunks and 
sending them to his home in Ohio, he solemnly 
asserted he would never act again until peace 
was declared. He had hoped to serve as a 
soldier, but his health broke down and after 
two attempts, he gave up the idea of serving 
in the field and devoted himself to the sick and 
wounded, reading to and encouraging the 
men in the field, visiting the hospitals, and giv- 
ing benefits all over the country for the aid of 
the Sanitary Commission. He was appointed 
an aide on the staff of General Rousseau, and 
for four years devoted himself to the cause. 

Charles Wyndham, one of the most popular 
English actors that ever visited our shores, 
always pointed with pride to his service in our 
civil war. In the cosy study in his pretty home 
in St. John's Wood Park is to be seen sus- 
pended over the mantelpiece the sword which 
he wore as brigade surgeon of the Nineteenth 
Army Corps, during the Seven Days' and Red 
River campaigns. Mr. Wyndham was ap- 

Driftwood of the Sta^e. 299 

f ointed to this position by Major-General N. P. 
Banks, after an introduction given to him by 
P. T. Barnum. Dan Rice did much for the 
soldiers while in the field, and at the close of 
the war erected a monument to the memory of 
those who died in defense of their country. This 
monument, which is one of the finest in the 
state, is located in one of the public squares at 
Girard, Pa. 

Among the women of America who made 
themselves famous during the rebellion was 
Pauline Cushman. While playing at Wood's 
Theater, Louisville, Ky., in March, 1863, she 
forsook the stage and entered the Federal ser- 
vice as a scout and spy, and was at once detailed 
to carry orders between Louisville and Nash- 
ville. She was subsequently employed by 
General Rosecrans, and for many months at- 
tached to the Army of the Cumberland. She 
visited the Confederate lines time after time, 
and rendered her country invaluable service. 
She was twice taken prisoner, but managed to 
escape without giving away any of the secrets 
entrusted to her by the Federal government. 
It was just after Nashville was taken that the 
little w^oman was captured while making a trip 
near that city. Again she managed to escape 

300 Driftwood of the. Sta^e. 

only to be recaptured the following morning. 
They held to her this time and found in her 
garters papers which proved conclusively that 
she was a scout and spy. Arrangements were 
being made to hang her when the Union forces 
marched into the town and took possession. 
For meritorious services she was given the 
brevet of major, and afterward became known 
in theatrical circles as Major Pauline Cushman. 
At one time Adah Isaacs Menken became in- 
terested in military affairs and was elected cap- 
tain of a company at Dayton, Ohio. On her 
travels her commission as an officer was placed 
on exhibition in the lobbies of the theaters 
where she played, and attracted much attention. 
During one of her engagements at Albany, N. 
Y., she paid a visit to the armory of the Twen- 
ty-fifth Regiment of that city, and was hospit- 
ably received. At her benefit a few days later, 
she sang a song dedicated to that regiment. 
During the civil war she frequently got in hot 
water by expressing herself a little too freely 
as a secessionist. She was very fond of decor- 
ating her rooms with Confederate flags every- 
where she went. While playing at Baltimore, 
then under military rule, she was arrested and 
placed under guard during the reign of Provost 

Driftwood of the Stage. 301 

Marshal Fish, but was treated with considera- 
tion on account of her manifold charms of man- 
ner and person. Charlotte Crampton aban- 
doned the stage when informed that her son 
had enlisted in the Union army for the war. 
Althouo^h at that time more than a middle-ager^ 
woman she became a vivandiere, and followed 
her boy's regiment through the campaign. 

At the first call for troops a number of 
theatrical men met on the stage of the New 
Bowery Theater, New York, to recruit a com- 
pany for the Eighth New York Infantry. 
George L. Fox was elected a lieutenant in the 
company and served at the front with the or- 
ganization during the entire period of its 
service. Nearly all the members of the company 
were in some way identified with the theatrical 
profession. About the same time recruiting 
was going on at the Howard Athenaeum, Bos- 
ton, for a company in the Twenty-eighth Mas- 
sachusetts Infantry. On its organization 
Lawrence Barrett was elected captain. When 
this company went to the front William J. Le- 
Moyne was its first lieutenant, and when Mr. 
Barrett resigned Mr. LeMoyne was advanced 
to the vacant position. He was badly wounded 
at the battle of South Mountain. A company 

302 Driftwood of the Stage. 

was recruited for the Fifth Michigan Infantry 
at the National Theater, Detroit, Mich., and a 
number of stage folks signed the roll. E. T. 
Sherlock, at that time manager of the house, 
became its captain. He was soon promoted to 
be major, and was killed by a shell while lead- 
ing his regiment at the battle of Chancellors- 
ville, Va., in May, 1863. 

In January, 1861, a call was sent out among 
the theatrical profession requesting their at- 
tendance on the stage of the Varieties' Theater, 
New Orleans, for the purpose of organizing a 
military company to assist in the defense of 
the city, and if necessary to be offered for ser- 
vice in the cause of the Confederacy. The 
original idea of having none but those connected 
with the stage was closely carried out, and over 
one hundred names were obtained at this meet- 
ing. The organization selected the name of 
"The Cocktail Guards," and John E. Owens, 
at that time the manager of the house, was 
chosen captain. Among those prominent in 
theatrical life who assisted in the formation and 
became active members of the company were 
Mark Smith, Carlo Patti, Thomas W. Davey, 
Harry Hawk, Luke Schoolcraft, M. W. Lef- 

Driftwood of the Stage. 303 

fingwell, Louis Sharpe, Fred Maeder and 
Thomas B. MacDonough. 

When General George B. McClellan was 
removed from the command of the army in 
1862, it caused much bitterness among the 
soldiers in the field. He had the love and con- 
fidence of his men, many of whom openly de- 
clared he was the victim of political intrigue. 
Septimus Winner at the time composed a song 
entitled "Give Us Back Our Old Commander," 
and because of the sentiments it expressed 
stirred up so much feeling that its publication 
was stopped by the war department. The song 
was prohibited in public places. A singer in 
a Philadelphia theater was stopped in the middle 
of a verse by the authorities, and a New York 
manager, who after asking legal advice on the 
subject, announced the song for a certain even- 
ing, was informed by the provost marshal of 
the city that if he allowed the song to be sung 
all connected would be locked up in Fort 

In the summer of 1863, Madeline Hardy, 
adopted daughter of Peter Richings, and for 
many years a member of the Richings Opera 
Company, began an engagement at the 
Academy of Music, New Orleans, then under 

304 Driftwood of the Stage. 

the management of David Bidwell. While there 
the song, ''Death of Stonewall Jackson" was 
written, and Miss Hardy being a great favorite 
in New Orleans and a typical southern girl, the 
piece was dedicated to her. It created such an 
excitement that General Sheridan, who at that 
time was commanding the troops in the city, 
martial law having been declared, forbade Miss 
Hardy singing the song. The following even- 
ing she wore a white dress with a red ribbon 
suspended from the left shoulder. Red and 
white were the Confederate colors, and they 
were worn without thinking of causing any 
trouble. General Sheridan resented it and sent 
a squad of soldiers with orders to remove her 
entire wardrobe from the theater. This was 
done and a riot nearly resulted, but was finally 

No regiment, north or south, had so many 
members of the theatrical profession in its ranks 
as the Ninth New York Infantry (Hawkins* 
Zouaves). While at Roanoke Island in 1862, 
the soldiers formed "The Zouave Minstrel and 
Dramatic Club." A building was assigned to 
them which was soon converted into a theater. 
From the ranks came the scene painters, theatri- 
cal mechanics, experienced property men, and 

Driftwood of the Stage. 305 

costumers to make and care for the wardrobe. 
An orchestra was soon gotten together of musi- 
cians who had often received the plaudits of 
metropoHtan audiences. No matter what the 
play the parts could always be filled with pro- 
fessional actors. 

A regular admission fee was charged and 
the season proved sp successful that after paying 
all expenses, ^he sum of $400 was turned over 
to the hospital fund. Crowds came from all the 
camps on the Island, many frequently were turn- 
ed away, and the natives were simply astounded 
at the versatility of the soldiers. There were 
many actors in the companies of this regiment 
selected to make the gallant charge at Roanoke 
Island, the first bayonet charge of the war. 
When the command to charge was given the 
men responded instantly, and dashed forward. 
Within five minutes they had swarmed over the 
parapet and through the embrasures, and the 
battle was won. Many lives were lost, but no 
men ever died more bravely. 

A few years after the close of the civil war, a 
young fellow started out as advance representa- 
tive of a company touring the smaller cities of 
the south. Arriving at a town in South Caro- 
lina, where his company was booked to play, 


3o6 Driftwood of the Stage. 

he met the agent of another company which 
was to play the town four days previous to 
him, and who should have had his work done 
and on his way. He was full of trouble. He 
claimed that in all his theatrical experience he 
had never met such a tough proposition to do 
business with as the manager of that place. 
The manager, who was also the bill-poster, 
would do nothing for him, and he was com- 
pelled to do all his own advertising and bill- 
posting and at that could only get up his print- 
ing in out-of-the-way places. 

Expecting the same kind of treatment, the 
young man started out to find the manager and 
make himself known, and to his surprise was 
greeted most cordially. The two had not con- 
versed long when he was informed that if he 
would get his billing matter ready it would be 
put up that afternoon. When all was ready to 
start out, it was noticed that three of the man- 
ager's fingers were missing. Handing him the 
package of printing, the more fortunate agent 
took up the two heavy buckets of paste and 
followed. In a short time a stand of his bills 
was posted on the most conspicuous bill board 
in town. They were fairly under way with 
another stand when the disappointed agent 

Driftwood of the Stage. 307 

came along and began to abuse the manager 
for his lack of attention and the poor showing 
of his paper. The manager stopped his work 
and turned his gaze toward a badge that was 
displayed on the breast of the agent. It was 
the symbol of the Fourteenth Army Corps of 
Sherman's command, a little golden acorn 
hanging from a miniature American flag. 
Pointing to it with his wounded hand he said: 
"People that has them kind of ornaments on 
them generally has niggers do their work." 

There are still a number of veterans of this 
terrible conflict prominently before the public. 
The side on which they fought should not be 
asked. Time has effaced all differences, and 
when the last of those who so honored their 
profession shall have passed away, let us hope 
that we will find them 

"Wearing robes of spotless white, 
Not coats of gray aud blue." 

3o8 Driftzvood of the Stage. 


A tragedian of national reputation, sup- 
ported by a capable company, was acting a 
series of Shakespearean characters at a theater 
in a western city. At another house but a 
couple of blocks distant, at the same time, ap- 
peared a young prize-fighter, who having just 
won the championship was thought a fit sub- 
ject for theatrical honors. The tragedian 
played to empty seats, while the pugilist was 
turning away hundreds at every performance. 
One night the real actor addressed his audience 
and concluded by saying he did not see why 
the theater-going public should give its pat- 
ronage to prize-fighters, outlaws, and men of 
those classes, and refuse tp recognize true art. 

In the hotel lobby one day the tragedian was 
approached by a little fellow dressed in the 
height of fashion, who thus accosted him: 
"Say, what do you mean by goin' 'round 
knockin' me an' me show?" 

Driftwood of the Stage. 309 

*'I beg pardon, sir, but I do not know you,'* 
replied the actor. 

"You know me all right, all right. Fm the 
attraction at the opposition house, that's who 
I am," said the little fellow. 

"Indeed? Well, if that is so," retorted the 
actor, "I feel doubly sure that the remarks I 
made in reference to you, sir, were perfectly 

"Say, old man, we'll let it go at that," re- 
plied the pugilist. "We're both troupers and 
ought to be good fellers, and if that's the way 
you feel about it, I'll accept your apology." 

The theatrical profession is recruited from 
all stations in life. Of course, there are some 
w^ho are really born in the business. In that 
class we have John Drew, Edgar L. Davenport, 
George M. Cohan, Henry B. Harris, and hun- 
dreds of others whose parents were well-known 
actors and managers before them. Porter J. 
White, Frederick Hallen, Mark Sullivan, Otis 
Shattuck and Charles J. Ross are among the 
many who entered the profession when very 

Then there are others who have left trades 
and professions to enter the theatrical arena. 
Taking a few names from the list of prominent 

310 Driftwood of the Stage. 

managers it will be noticed that A. M. Palmer 
was a librarian at New York; G. E. Lothrop, 
a physician at Boston; William Harris, cigar- 
maker, St. Louis; Edward Harrigan, ship 
caulker, New York; E. D. Stair, newspaper 
publisher, Howell, Mich.; George H. Nicolai, 
bookkeeper, Milwaukee, Wis. Daniel Frohman 
was an errand boy in the office of the New 
York Tribune, and Oscar Hammerstein was in 
the tobacco business before he took upon him- 
self the task of erecting and managing theaters. 
Richard Hyde, of Hyde and Behman, was a 
hat maker, and his partner, Louis C. Behman, 
was a clerk. 

John W. Vogel was a druggist at Chillicothe, 
Ohio, before he became identified with the 
minstrel branch of the profession, and Al. G. 
Field was a. house painter at Columbus, Ohio. 
A. R. Warner was a clerk in a music house at 
Detroit Mich., and Charles A. Altman was 
employed in a jewelery store at the same city. 
William C. Cameron was a furniture dealer at 
New York; and William T. Keough, reporter, 
Charleston, S. C. Samuel Tuck was a dealer 
in chandeliers, and Elmer E. Vance was a 

Among the actors we have Frederick Warde, 

Chrystai, Hernk. 

Driftwood of the Sta^e. 311 

who was articled to a law firm at London, and 
Frank C. Bangs took to the stage because he 
could not make money at the law. Otis Skin- 
ner nailed up boxes in a dry goods house and 
edited a small paper at Hartford, Conn. Eu- 
gene O. Jepson wrote wrappers for the Hart- 
ford Post, and Joseph Wheelock was a sailor. 

Eiben Plympton was a machinist when he 
lived at Boston, and Henry Lee was a butcher 
in his father's shop. Henry E. Dixey was a 
dry goods clerk at Boston before he danced 
into celebrity as the hind legs of a paper-mache 
heifer. Louis Morrison was a photographer, 
and Willie Edouin's "Fun in a Photograph 
Gallery" was based on Mr. Edouin's experiences 
in the same trade. Harry Lacy laced shoes 
for his customers in a Detroit shoe shop. Cyril 
Searle was a job printer in England and a 
Herald compositor at New York. Robert C. 
Hilliard was in a broker's office. 

Sam Bernard was a decorator and paper- 
hanger, Nat M. Wills was a printer, Hal 
Stephens a druggist, and George Sidney 
worked in a hat factory. George W. Monroe 
was a type founder, Harry Linton held a posi- 
tion of trust with the Wells-Fargo Express 

^12 Driftwood of the Staore. 

Company, and Billy B. Van started out to be 
a scene painter. 

It is said that more printers turn actors than 
people of any other trade. Few actors leave 
the stage if they gain success on it, although 
a few of them go into management, and jour- 
nalism lures them once in a while. J. Bernard 
Dyllyn was a plumber at San Francisco; 
Charles A. Mason, a tinsmith at Indianapolis; 
Peter Randall, tailor, Boston; Mark Murphy, 
bartender, San Francisco; Joe Flynn, composi- 
tor. New York; Frederick Mosely, hotel clerk, 
St. Paul, Minn. ; Joseph J. Dowling, en- 
gineer, Pittsburg; Harry Mills, jeweler, New 
York; J. Royer West, confectioner, Lancaster, 
Pa. ; and Harry Blocksom, iceman, Phila- 

Sam Morton was a candymaker and so was 
Harry Yokes. John G. McDowell was a 
cracker baker, and R. J. Jose a blacksmith. 
Happy Ward was a tobacco stemmer at Rich- 
mond, Va. ; Charles Savan, paperhanger, Grand 
Forks, N. D. ; William E. Hines, pressfeeder. 
New York ; Bobby Gaylor, butcher, New York ; 
and Charles W. Young, cabinetmaker, Beaver 
Falls, Pa. 

* * * sK jj< :ic 

Driftwood of the Sta^e. 313 

On June 8, 1882, the people of the State of 
New York, represented in Senate and As- 
sembly, passed an act incorporating the Actors' 
Fund of America. The articles of incorpora- 
tion contained the names of 184 of the most 
prominent members of the different branches 
of the profession, headed by the following, who 
became the first Board of Trustees : 

Lester Wallack, Albert M. Palmer, Edwin 
Booth, Edward Harrigan, Henry E. Abbey, 
William Birch, William Henderson, Joseph 
Jefferson, John F. Poole, Marshall H. Mallory, 
Phineas T. Barnum, Lawrence Barrett, Wil- 
liam J. Florence, Joseph K. Emmett, Henry C. 
Miner, John H. Haverly, and William E. 

The object of the new organization was to 
advance, promote, foster and benefit the con- 
dition and welfare of persons belonging to the 
theatrical profession and their families, and the 
destitute sick belonging to the theatrical pro- 
fession. The term theatrical profession includ- 
ing all persons pursuing the profession of and 
earning their livelihood solely by acting, sing- 
ing, dancing, managing or performig in 
theaters, opera houses, music halls or circuses, 
as well as any and all persons wholly dependent 

314 Driftwood of the Stage. 

upon the business of amusements for their live- 
lihood. At the same time, the American Dra- 
matic Fund Association was authorized and 
empowered to unite with and merge its funds 
and moneys with the funds and moneys of the 
Actors' Fund. 

The dues were placed at two dollars per year, 
but on payment of fifty dollars a life member- 
ship could be secured. The revenues are mostly 
obtained, however, from the elaborate benefit 
performances given throughout the country by 
the theatrical profession in general, some of 
these performances being the grandest ever 
known in the history of the stage. There have 
also been a large number of bequests and dona- 
tions to the Fund. 

One of the first benefits given for the Actors' 
Fund took place at Haverly's Theater, New 
York, March 13, 1882, M. B. Curtis and his 
company appearing in "Sam'l of Posen." On 
April 3 of the same year, matinee benefit per- 
formances were given in fourteen theaters at 
New York, also the Brooklyn theaters. A 
number of donations were announced from the 
dififerent stages on that day, James Gordon 
Bennett giving $10,000. The benefit at the 
Boston Theater, April 12, 1883, was one of the 

Driftzvood of the Stage. 315 

grandest affairs that ever took place at that city, 
as well as one of the most successful financially. 

A triple performance for the benefit of the 
Actors' Fund took place February 4, 1886, un- 
der the management of Augustin Daly, Lester 
Wallack and A. M. Palmer. At two o'clock 
on that day J\lr. Wallack's company appeared 
at Wallack's Theater in the second act of "The 
Rivals;" at three o'clock they appeared at 
Daly's Theater in the fourth act, and at four 
o'clock they appeared at the Madison Square 
Theater in the last act. Mr. Palmer's company 
appeared at two o'clock at the Madison Square 
Theater in the first act of "Engaged;" at three 
o'clock they appeared at Wallack's Theater in 
the second act, and at four o'clock at Daly's 
Theater in the last act of the same play. Mr. 
Daly's company appeared at Daly's Theater at 
two o'clock in the first act of "Love on 
Crutches;" at three o'clock they appeared at 
Wallack's Theater in the second act, and at four 
o'clock they appeared at Wallack's Theater in 
the last act of the same play. Mr. Wallack 
addressed the audience at Daly's, Mr. Palmer 
at Wallack's, and Mr. Daly at the Madison 

When the Actors' Fund fair was held at the 

3i6 Driftwood of the Sta^e. 

Madison Square Garden, New York, in May, 
1892, the younger members of the profession 
had a chance to show of what service they could 
be when the opportunity presented itself. A 
noble band of ladies and gentlemen of the stage 
volunteered their services to the cause and took 
the heavy burdens from the shoulders of the 
older ones. They took charge of the booths 
where goods were displayed, and engaged in 
friendly rivalry over the disposal of their 
wares, and some eagerly sought votes for 
friends whom they wished to see the possessors 
of the valuable prizes. To prove that their work 
was well done, it need only be said that it was 
the most successful affair of the kind ever held 
in this country, financially and otherwise. 

It is without doubt the greatest organized 
charity in the entire world. It is harmony that 
keeps it so. The names of the most famous 
stars and the theatrical mechanic are inscribed 
on the same page. The manager who donates 
his theater, or the actors who cheerfully journey 
from other cities to take part in benefit perform- 
ances, do not seem to think they are doing a 
bit more for the good work than the man who 
has charge of the lights or the girl who is sell- 
ing programs and flowers in the lobby. 

Driftwood of the Stage. 317 

The Actors' Fund Home at West New 
Brighton, Staten Island, N. Y., opened its doors 
on May 8, 1902, with the Rev. George C. 
Houghton and Joseph Jefferson dehvering the 
opening prayer and address. A home with 
every modern improvement, with over fifty 
rooms, lighted by electricity, plenty of light, 
air and heat. It has a library, billiard room, 
pool room, in fact everything requisite to make 
our old friends comfortable. The actors, the 
managers and the public contributed over 
$100,000 to erect and furnish this home, and 
the Actors' Fund of America owns the home 
free of any incumbrance. 

The ceremonies commenced at three o'clock 
in the afternoon. Daniel Frohman, First Vice- 
President of the Actors' Fund, presiding. Mr. 
Frohman read a telegram sent by Nat C. 
Goodwin, Maxine Elliott, James O^Neill and 
others from San Francisco, tendering their 
greetings and congratulations and saying that 
they were giving a benefit that day for the 
Actors' Fund Home, and would send a check 
for $2,000. He then introduced Mr. Jefferson, 
who said, in part: 

"First, I will speak of the importance of this 
home — the great importance of it. The theatri- 

3i8 Driftwood of the Stage. 

cal profession is increasing year after year, and 
it stands to reason that in years to come there 
will be many of our profession who, through 
sickness, distress, old age and many of 
those unfortunate incidents that are apt 
to follow human existence, will need a 
sanctuary and a shelter for their old age. 
And let me sav that those who become inmates 
of this home can enter it without that mortifica- 
tion which usually accompanies the reception of 
charity for the reason that they have, them- 
selves, directly and indirectly, contributed to 
the fund that has raised this beautiful home. 
So that when they accept it they will be in the 
seat of their inheritance. 

"Mr. Al. Hayman was the first contributor 
by the munificent sum of $10,000 for this home. 
He has lived with it a year, and he has nobly 
done his work. The comfort, even the elegance 
— and I say even the elegance advisedly — of the 
home as it stands now are so manifest that it 
will be a great comfort to those who enter it 
as a sanctuary for help during their declining 
years. Mr. Hayman gave this sum with the 
understanding that a large sum should be con- 
tributed by the theatrical profession. I believe 
you know with what promptness they came for- 

Driftwood of the Sta^e. 319 

ward and poured in their donations to the Fund. 
Subscriptions ranging from $25 to $1,000 
poured in until the sum required was raised 
within a few days." 

Mr. Hayman being called upon spoke as fol- 

"There stands your home. I am only sorry 
that one who was very dear to you, who 
labored daily to bring about this home, is not 
here to see it. I refer to the late president of 
the Actors' Fund, Louis Aldrich. If the little 
I have done to help erect this home meets with 
your approbation. I shall feel more than re- 
warded. I hope in later days, when I look back 
at the good the home will do, and the many that 
it may shelter, that I can look back with the 
same degree of satisfaction at the manner in 
which you will sustain this home. We have 
got the home. It is beautiful, as you will see 
when you go through it, and it is up to you, 
ladies and gentlemen, brothers of the pro- 
fession, to keep in ease and comfort, for the 
remainder of their lives, the many brothers and 
sisters that have worked with you." 

320 Driftwood of the Sta^e. 


The presence of mind of the actor in time 
of the gravest clanger has been to the advantage 
of theatergoers on more than one occasion, and 
it is known where actors have held an audience 
in laughter while the house force were fighting 
a fire on the stage, and had time to place a man 
at each exit to handle the audience in case of 

The notion that real heroism is inseparable 
from war is passing, and there is less inclination 
today to deify a man merely because he has had 
a hand in a few skirmishes or even real battles 
than there is to consider those qualifications of 
unselfishness which find manifestations in other 
capacities than shooting, killing and maiming. 
It is, of course, true that a war affords oppor- 
tunities for what we are accustomed to class as 
heroism in superlative degree, but it is not the 
only thing that affords opportunities. 

There has been no more adequate demonstra- 
tion of this than was given by Eddie Foy, the 

Driftwood of the Stage. 321 

comedian of the * 'Bluebeard" company, that 
was playing in the Iroquois Theater, Chicago, 
when that theater was destroyed by fire on the 
afternoon of December 30, 1903, and 578 per- 
sons lost their lives. He was the one cool in- 
dividual in the whole theater. When the flames 
from the burning scenery were roaring over his 
head, when he was perhaps the only one who 
was fully aware that the fire could not be con- 
trolled, he stood at the front of the stage and 
sought to calm the people. 

Between exclamations he bent over toward 
Herbert Dillea, the orchestra leader, 

"Start an overture!" he commanded. ''Start 
anything. For God's sake, play, play, play, 
and keep on playing." 

The brave words were as bravely answered. 
Dillea raised his wand, and the musicians be- 
gan to play. Better than any one in the theater 
they knew their peril. They could look slant- 
ingly up and see that the 300 sets of scenery 
all were ablaze. Their faces were white, their 
hands trembled, but they played, and played. 

Dillea — his ranks already thinning out in the 
orchestra pit — struck up the "Sleeping Beauty 
and the Beast" overture. Of the thirty odd 
musicians in the pit not over half a dozen re- 

322 Driftwood of the Stage, 

mained to follow Dillea and his baton. But the 
little fellow, ashen pale, his eyes glued on the 
raging mass of flame above, never whimpered. 
He kept right on, and only left his post when 
the flames drove him away from his leader's 

Perhaps these two brave fellows did not ac- 
complish much. The results of their efforts can 
never be reduced to numbers. And yet the 
words, the music, and the example may have 
had an effect which saved many. 

During a performance of "If I Were King,'* 
which was presented by Edward H. Sothern at 
the Providence Opera House in April, 1902, 
burning stage grass for a few moments threat- 
ened to take on a realism that was to result in 
an interesting panic. The lighting for the gar- 
den scenes in the second and third acts was done 
from overhead, instead of from the wings. A 
broken arc light carbon, falling into the dyed 
excelsior that serves for grass, started a furious 
blaze. The women in the audience began to get 
excited as the fire ran over the stage, but Mr. 
Sothern kept on saying his lines, and methodi- 
cally stamping out the flames until all were 
extinguished. His presence of mind brought 

Driftwood of the Stage. 323 

him rounds of applause from the auditors, and 
the play went on. 

Other incidents have occurred lo show that 
actors can personate in dead earnest the self- 
possessed, dashing heroes whom they portray 
so perfectly in the mimic world. Some years 
ago Lester Wallack appeared in a performance 
of a play called "Home," at his own theater in 
New York. Shortly after he appeared in the 
character of Colonel White, only to be ordered 
from the house of his stage father, a person 
in the audience called out to him in alarm, 
"Look behind you !" As he turned he saw that 
the candle on the mantelpiece had burned down 
to the socket, and the paper wrapped around it 
had caught fire to the imminent danger of a 
curtain which in another second would be 
ablaze. Mr. Wallack coolly drew the candle- 
stick away from the curtain, holding it while 
the hot wax fell fast upon his hand and re- 
peated his lines as if nothing had happened. 
Had he shown the slightest nervousness it 
might have caused one of those panics in which 
the spectators Ipse their wits and stampede like 
a lot of sheep. Soon the house, assured by his 
manner and the extinguishing of the flames, 
burst into a round of applause. Mr. Wallack 

324 Driftwood of the Stage. 

repeated the lines, "Well, the Governor has 
turned me out of the house" — and added im- 
promptu — "but I have the satisfaction of know- 
ing that I have been instrumental in saving 
the place from destruction by fire." 

During the production of "Faust" at the 
Trimble Opera House, Albany, N. Y., in Oc- 
tober, 1 87 1, there was a narrow escape from a 
serious accident. It was in the temptation scene 
where Lottie Angus appeared as a beautiful 
witch, arrayed in a costume of the lightest kind 
of gauze. This scene was attended with a dis- 
play of fireworks, and the dress of the fair 
tempter caught fire. For a moment the aud- 
ience was treated to a sensation not on the bills, 
but Harold Fosberg, the Faust of the evening, 
was equal to the situation. Seeing the danger, 
with one sweep of his arm he tore the burning 
drapery from the frightened lady, and she 
sprang behind the scenes unharmed. The next 
night she was not so fortunate. Contrary to 
orders, fireworks were again used. Her drap- 
ery caught fire, and this time she was severely 

Blanche Walsh had a narrow escape from 
serious injury during the presentation of Tol- 
stoi's "Resurrection" at the Victoria Theater, 

Driftzvood of the Stage. 325 

New York, in April, 1903. A lamp used in 
one of the scenes set fire to Miss Walsh's hair 
and she rushed from the stage. Joseph 
Haworth, her leading man, caught her in the 
wings and extinguished the flames before the 
lady had been seriously burned. Then she went 
on with the scene as if it were a part of the' 

An unknown number of people owe their 
lives to John Philip Sousa. On one occasion 
he was playing to an audience of 12,000 people 
at St. Louis, when the electric lights in the hall 
suddenly went out. Some one shouted ''Fire !" 
and an ominous rustle made Itself heard 
through the gloom. Rap, rap, went Sousa's 
baton, and without an instant's hesitation the 
band burst forth into "Oh, Dear, What Can the 
Matter Be?" The uneasy rustle turned to a 
ripple of laughter, and when this air was rapidly 
followed by "Wait Till the Clouds Roll By" a 
roar of merriment showed that the situation 
was saved. 

The cool head of Florence Reed, when she 
was leading lady of the Fifth Avenue Theater 
Stock Company at New York, once saved Mr. 
Proctor's playhouse from possible destruction. 
Just before the end of the farce, "Who is 

326 Driftwood of the Stage. 

Brown?" a grate fire used in the scene got out 
of order and blazed up dangerously near a 
lambrequin used for draping the mantelpiece. 
Miss Reed noticed it at her entrance, and while 
delivering her lines threw a quick aside to some 
one in the wings, giving the alarm without be- 
traying her agitation to the audience. Paul 
McAllister, who was also on the stage at the 
time, walked over and tried to stamp out the 
flames, repeating his lines at the same time. 
Frederick Bond, as the butler, walked in at this 
juncture with a pail of water, and pretending to 
put coal on the fire, made a quick finish to what 
might have developed into a serious catastrophe. 
None of the players lost either their heads or 
their lines, and the play went on smoothly to 
the end as though nothing had happened. 

Great care is now exercised for the protec- 
tion of the theatergoers in case of fire, and many 
theaters have an organized force among their 
employes for such emergencies. Their plan of 
defense is a simple one, and is started by num- 
bering sixteen employes in each theater. The 
first-floor ticket taker is No. i, the chief usher 
is No. 2, the aisle ushers follow as Nos. 3, 4, 
5 and 6, the orchestra leader is No. 7, and then 
come nine of the men on the stage and in the 

Driftzvood of the Stage. 327 

flies to complete the sixteen. At the first sign 
of fire or smoke in any part of the theater Nos. 
I, 7, 8 and 12 hear a buzzer conveniently placed 
near them, to be sounded only in case of fire, 
and not loud enough to alarm the audience. 

At the first sound No. i quietly tells the chief 
usher and his assistants to look sharp, talk 
quietly but firmly to folks who may become 
excited, assure them there is no immediate 
danger, and aid them in leaving their seats, if 
they insist on doing so, in orderly fashion. The 
orchestra leader immediately strikes up a pa- 
triotic air. If the fire is on the stage, the stage 
manager orders the asbestos curtain rung down, 
and steps to the footHghts to assure the aud- 
ience that there should be no excitement as there 
is no immediate danger. Other stage employes 
move quickly and quietly to the fire hydrants, 
two men to each, and while one attaches the 
hose the other carries the nozzle as near to the 
place of conflagration as possible. The man at 
the hydrant then awaits the word from the 
stage manager to turn on the water. 

It was on December 5, 1876, that the Brook- 
lyn Theater was burned. The number of killed 
and missing at this fire was never known. 
Those identified numbered 284, among whom 

328 Driftwood of the Stage, 

were the well-known actors, Claude Burroughs 
and H. S. Murdoch. The play of the ''Two 
Orphans" was being performed. The full cast 
was as follows, and with the exception of Miss 
Morant, Miss Vernon and one or two of the 
minor characters, all the members were in the 
theater at the time of the fire : 

Chevalier de Vaudry Charles R. Thorne, Jr. 

Count de Linieres H. F. Daly 

Picard Claude Burroughs 

Jacques Frochard J. B. Studley 

Pierre Frochard H. S. Murdoch 

Marquis de Presles J. G. Peakes 

Doctor of the Hospital H. B. Phillips 

La Fleur H. W. Montgomery 

Officer of the Guard John Mathews 

Martin L. Thompson 

De Mailly M. J. Clements 

D'Estres George Dalton 

Footman E. Lamb 

Antoine R. Struthers 

Henriette j The \ ^^^e Claxton 

Louise ( Two Orphans \ Maude Harrison 

La Frochard Mrs. Farren 

Countess de Linieres Fanny Morant 

Sister Genevieve Ida Vernon 

Marianna Kate Girard 

Julie Ethel Allen 

Cora Miss L. Cleves 

Sister Therese Mrs. L. E. Seymour 

Miss Claxton (Louise) was lying on the 

George M. Cohan. 

• * #• • 

• •/ • • 

• • • « 

Driftwood of the Stage. 329 

straw pallet in the last act, and Mr. Murdoch 
(Pierre) was delivering his lines when the 
two heard a whisper of ''Fire!" from behind 
the scenes, and looking up saw flames issuing 
from the flres. Mr. Murdoch stopped, but Miss 
Claxton said in an undertone: "Go on, they 
will put it out; there will be a panic; go on!" 
He resumed, Mrs. Farren (Mother Frochard) 
entering in the meantime. The stage hands 
were all the while trying to stop the flames un- 
noticed by the house, and Miss Claxton de- 
livered her little speech to Jacques, "I forbid 
you to touch me!" which was greeted with ap- 
plause. Meanwhile the audience had begun to 
suspect something, and with Miss Claxton's 
words, '1 will beg no more," the actors were 
forced to move by reason of falling embers, 
and the audience rose to their feet. When the 
blazing fragments began falling thick and fast 
the audience made a rush for the doors, and the 
struggle for life began. The ushers tried to 
enforce order in the maddened crowd, without 
avail. Those who were not trampled to death 
were suffocated by smoke. 

The actors held their ground as long as pos- 
sible, but had to look out for themselves. Claude 
Burroughs (Picard) escaped from his dressing 

330 Driftwood of the Stage. 

room only to meet death, and Mr. Murdoch was 
never seen again. The four people on the stage 
displayed much coolness and bravery under the 
trying circumstances and in urging the audience 
to depart leisurely, or there would have been a 
much worse stampede — ^possibly a heavier loss 
of life. Mr. Studley was the last to leave the 
stage. Pointing to his associates, who were 
begging the people not to get excited, he spoke 
the last words in the history of that theater, 
which were: "Keep cool. We are between 
you and the flames!" 

The occupants of the orchestra chairs and 
parquet had but little difficulty in making good 
their escape, but at least two-thirds of the aud- 
ience were in the dress circle and gallery. The 
loweft estimate of the number in the gallery 
was that about six hundred people were in that 
portion of the house, and from these were most 
of the deaths. The exit from the first balcony 
was down a single flight of stairs in the rear 
of the vestibule. Down these stairs the people 
came in scores, leaping and jumping in wild 
confusion. The gallery exit was through a 
tortuous passage which made escape next to an 
impossibility, and was soon choked up with 
struggling human beings, who were either 

Driftwood of the Stage. 331 

trampled to death or suffocated by smoke before 
the roof of the theater fell about half an hour 
after the flames broke out. It was nearly 
morning before the extent of the loss of life 
was known, and the morning papers went to 
press announcing that only two lives had been 
lost. Daylight revealed scores of charred 
bodies in the ruins. 

The last man within the burning building had 
looked around the lower auditorium and saw 
no one there, but in the extreme end of the top- 
most gallery were imprisoned hundreds of souls 
suffocated by the volumes of smoke that poured 
down from the burning roof, and who gave 
no sign that they were miserably perishing 
there. The following morning when the flames 
were fully under control and the firemen began 
their search among the ruins, the explora- 
tion of a dreadful pit just beyond the door lead- 
ing into the street discovered a sight that 
made strong men pale and faint, and disclosed 
a scene which is to be recorded as almost un- 
paralleled in history. There, piled one upon 
another in every attitude of struggling despair, 
was a mass of charred and agonizing figures, 
just as they had fallen with the end of the 

332 Driftwood of the Sta^e. 

gallery above, where they had met altogether 
their horrible deaths. 

About one hundred of the victims were given 
a public burial at Greenwood Cemetery on one 
of the stormiest days ever known. The grave 
was a circular trench fourteen feet wide and 
eight feet deep. The earth from the trenches 
was piled up in the center and formed a cone 
twenty feet high. The inclemency of the 
weather prevented the carrying out of the full 
program. As one by one the hearses and 
wagons came up and deposited the coffins in a 
row, the German singing societies united in 
singing Abf s "On Every Height There Lies 

When all were placed in the trench the Rev. 
Dr. Parker read the burial service and Mayor 
Schroeder scattered earth on the coffins. After 
the benediction a chorus of sixty singers from 
the German societies of Brooklyn sang KuUak^s 
"Abendlied," beginning : 

"Under the greenwood there is peace." 

Driftwood of the Sta^e. 333 


Junius Brutus Booth, after his farewell per- 
formance at the St. Charles Theater, New Or- 
leans, November 19, 1852, took passage for 
Cincinnati on a Mississippi steamer. He be- 
came very ill when the boat had started up the 
river, fever set in, and he died November 30, 
1852, far from home and without one of the 
dearly loved family near, as he peacefully 
passed away. Edwin Forrest was found dead 
in his bed by a servant in his palatial residence 
at Philadelphia, December 12, 1872. Sur- 
rounded by all that wealth and taste could give, 
he died alone, deprived in his last moments of 
a friend to return the last pressures of his stif- 
fening hand. James W. Wallack, Jr., an actor 
of exceptional charm and talent, was compelled 
to retire from the stage on account of failing 
health. He went south for the strength he 
never found, and he died in a sleeping car a 
short distance from Richmond, Va., on his way 
from Aiken, S. C, to New York, May 24, 1873. 
George W. Jamieson, a favorite actor of his 

334 Driftwood of the Sta^e. 

time, was instantly killed by an express train 
on the Hudson River Railroad, near Yonkers, 
N. Y., on the night of October 3, 1868. 

Walter Montgomery, a protege of Charles 
Kean and one of the most promising actors the 
country had ever seen, was found in a dying 
condition by a friend who had rushed into his 
room after hearing a pistol shot, in September, 
1 87 1. Whether it was murder or suicide has 
been a question never settled. He had been 
married but four days previous to Winnetta 
Montague, an actress of handsome form and 
features, who at his funeral wore her bridal 
wreath, which she scattered in his grave. This 
lady died at New York, May 27, 1877, her 
beauty a wreck, her means exhausted, and was 
buried by the charity of the profession. Peter 
Richings, the venerable actor and manager, died 
January 18, 1871, from injuries received from 
being thrown out of a wagon. 

Walter Prior and H. C. Page, quite prom- 
inent in theatrical life, were killed in the 
Orange Riot at New York, July 12, 1871. Both 
were members of the Ninth Regiment of the 
National Guard, and fell in the sharp fighting 
that occurred at Eighth Avenue and Twenty- 
fifth Street, between this regiment and the mob. 

Driftwood of the Stage. 335 

They were given a military burial from a church 
on the north-east corner of Fourth Avenue and 
Twenty-second Street, and laid to rest in 
Woodlawn Cemetery, New York. 

Edouard Remenyi, the great Hungarian vio- 
linist, dropped dead on the stage of the 
Orpheum Theater, San Francisco, Cal., on the 
afternoon of Sunday, May 15, 1898, while 
playing his first vaudeville engagement. He 
had played two or three classical pieces and re- 
sponded to an encore with ''Old Glory." The 
audience of nearly three thousand people were 
carried away with enthusiasm, leaving their 
seats in their excitement, and the applause was 
deafening, Remenyi, in response to this, be- 
gan to play Delibe's "Pizzecati." He had com- 
pleted but a few bars when he fell forward on 
the stage and was picked up dead. 

It was at the same city that Henry J. Mon- 
tague passed away. He had been acting at the 
California Theater in "Diplomacy," and made 
a great hit, playing to enormous business. He 
was compelled to retire from the cast for a 
time on account of illness. As the receipts of 
the theater had greatly diminished during his 
absence, he determined against the advice of his 
physician to play again. The exertion was too 

336 Driftwood of the Stage, 

much for his enfeebled condition, and he died 
suddenly soon after. It had been arranged to 
leave Mr. Montague at San Francisco when 
the company returned east. A short time be- 
fore his death he said to some members of his 
company: "Boys, I am not to be left; the 
doctor says I can go home with you." A few 
days later, he who but a few years before had 
come to our country a bright and handsome 
youth, and by his charming manners had be- 
come an idol to the profession, lay dead in a 
lonely room in a hotel, and in a strange city 
far from all his relations. 

Alexander Herrmann, the magician, who 
had appeared in nearly every, city of importance 
in the civilized world, died suddenly from heart 
failure while traveling in his private car, near 
Great Valley, N. Y., December 17, 1896. Pat 
Rooney, the famous Irish comedian, died on 
a ferry boat while crossing the North River 
from Jersey City to New York, March 28, 

Mark Smith was on his way from Milan, 
Italy, to America, and fell speechless in the 
depot at Paris. He was taken to the St. An- 
toine Hospital, where he died August 11, 1874. 
His remains were brought to this country, and 

Driftwood of the Sta^e. 337 

the funeral services were held at "The Little 
Church Around the Corner" two months later. 
Edward Eddy died of apoplexy at the Island 
of Jamaica, December 16, 1875. His body 
was brought to New York and buried from the 
Masonic Temple, January 11, 1876. Augustin 
Daly died at Paris, June 7, 1899. I'he re- 
mains were brought to New York, for inter- 
ment, the funeral services being held in St. 
Patrick's Cathedral at that city. 

During the run of ''The Black Crook" at 
Niblo's Garden, New York, in 1873, appeared 
a bright little musician about seven years old 
by the name of James G. Speaight. Not much 
larger than the violin he carried, dressed in a 
bright court suit of blue satin, with powdered 
wig, silken hose and buckled shoes, he seemed 
the smallest performer who ever stood behind 
the footlights. As a musician he certainly was 
phenomenal. He not only played solos on his 
violin, but conducted the large orchestra, stand- 
ing on a pile of music books in the chair of the 
leader that he might be seen by the musicians 
he led. At the close of the run of "The Black 
Crook," December 6, 1873, he was taken to 
Boston, where he played in "The Naiad 
Queen," and led the orchestra of the Boston 

338 Driftwood of the Sta^e. 

Theater until the night of January 11, 1874. 
The following morning the little fellow was 
found dead in bed. 

While protecting from insult one of the ladies 
of the "Diplomacy" company of which he was 
a member, Benjamin Porter was shot and 
killed at the railroad station at Marshall, Texas, 
by James Currie, a noted Texas desperado, in 
1879. Maurice Barrymore was at the same 
time severely wounded. 

Thomas A. Daly died July 20, 1892, from 
the effects of a severe beating given him by a 
cowardly set of ruffians armed with stage 
braces and clubs, and employed as stage hands 
at the Academy of Music, Chicago, then under 
the management of Dan Shelby. 

P. S. Gilmore, a musician of note and di- 
rector of one of the most famous military bands 
of the country, conducted his band at the St. 
Louis Exposition on the afternoon of Septem- 
ber 24, 1892. After the performance he went 
to his hotel and two hours later was found dead 
in his room. Castell Brydges, one of the best 
singers the stage ever knew, was found dead 
in his bed at the Sherman House, Mt. Clemens, 
Mich. But an hour or two before he had gath- 
ered the employes of the hotel in the dining 

Driftwood of the Stage. 339 

room and sang for them. William Davidge 
died on a railway train at Cheyenne, Wyoming, 
August 7, 1888, while en route to San Fran- 
cisco, with the Madison Square Theater Com- 
pany, of which he was a member. His death 
was due to heart failure. The body was brought 
to Brooklyn, N. Y., for burial. 

Actors as a rule love to die in harness. The 
great Moliere was playing in his own creation, 
'Xe Malade Imaginaire," when he broke a 
blood vessel. Gallantly he struggled on to the 
falling of the curtain, and then in a dying state 
was taken to his home. Charles B. Bishop died 
on the stage during a performance of *Xord 
Chumley," at the Lyceum Theater, New York. 
J. J. Prior, a fine actor of the old school, died 
in his dressing room at Toledo, Ohio, and John 
Howson, a clever comedian, was all dressed and 
ready to step on the stage at Troy, N. Y., De- 
cember 16, 1887, when without a moment's 
warning he was called by the messenger of 
death. At the time he was with Lotta's trav- 
eling company. George Jordan died in his 
dressing room at London, England, November 
15, 1873. He was playing Pygmalion in 
"Pygmalion and Galatea." '^ 

Charles A. McManus was found dead in his 

340 Driftwood of the Sta^e. 

bed in a hotel at Big Rapids, Mich., on the 
morning of December ii, 1888. He was a 
member of the company supporting Mile. Rhea, 
and had played the previous night. Frank 
Clements was instantly killed at Newark, N. 
J., May 8, 1886, by being run over by a loco- 
motive. He was in the support of Mme. Mod- 
jeska at the time. Edwin F. Mayo, while 
conversing with some friends at the Chateau 
Frontenac, Quebec, February 19, 1900, sud- 
denly reeled and fell to the floor. When picked 
up he was dead. 

On the afternoon of May 10, 1873, a large 
audience assembled at Wakefield's Opera 
House, St. Louis, to witness a performance of 
"Mazeppa," one of the most popular of the 
equestrian dramas of that day. Leo Hudson 
was the star of the occasion, and introduced her 
famous trained horse. Black Bess. Miss Hud- 
son was a daring equestrienne, possessing a 
strong and sweet voice, an exquisitely modeled 
form and a handsome face. Her fine rendition 
of the part made her a favorite throughout the 
country, and crowded houses greeted her every- 

Many will remember the story of the dash- 
ing young hero, fair of face and figure, who. 

Driftwood of the Sta^e. 341 

after conquering all of the. royal gladiators that 
dared to cross swords with him, proves equally 
adept in love affairs, and becomes known as 
"the idol of all the women, and the envy of all 
the men." The fair Olinska, a daughter of the 
reigning household, and betrothed to another, 
being found in his embrace, the populace are 
assembled and in the presence of their ruler he 
is accused of treason and branded as a spy by 
his jealous rivals. The Castellan, who rules 
his people with an iron hand, orders him seized 
and stripped of his raiment, and, without a 
chance to be heard, he is condemned to be tied 
on the back of a wild horse and turned loose in 
the mountains. The sentence goes into effect 
at once. As the Castellan cries out : "Bring 
forth the fiery, untamed steed!" the horse is 
brought on by several attendants, who, at the 
command, "Bind strong, hempen lashings about 
the villain's loins," tie the victim to the back 
of the infuriated beast. When all is ready the 
sentence is concluded with: "Let the beacon 
fires be lighted on the mountain tops, and may 
his fate strike terror throughout all Poland!" 

Amid the shouts of the onlookers and the 
burning of red fire the steed starts on a mad 
rush up the mountain with its precious burden 

342 Driftwood of the Sta^e. 

on its back. On this occasion the horse started 
up the run as usual. It crossed the first and 
second sections in safety, and was fairly started 
on the third, when the horse was seen to slip. 
It struggled hard but could not regain its feet, 
and with a loud crash both horse and rider were 
precipitated to the stage. Before the audience 
had time to realize what had happened the cur- 
tain was rung down, and everybody about the 
place rushed to her assistance. She was picked 
up and borne bruised and bleeding to her home. 
The injuries she received proved serious, and 
she died at the same city, June 2, 1873. 

Lucille Western died suddenly in her room in 
the Pierrepont House, Brooklyn, N. Y., Jan- 
uary II, 1877, in the midst of an engagement 
she was playing at the Park Theater, under 
Colonel Sinn's management. Pneumonia was 
the cause of her death. She was playing Nancy 
Sykes in "Oliver Twist," and Margaret Rook- 
ley in "The Child Stealer," and fulfilled her 
engagement up to the Wednesday night of the 
week for which she was engaged. She ap- 
peared in the former character at the matinee 
on that day, against the orders of her physician, 
but toward the end of the play she was unable 
to speak above a whisper. In the last act, when 

Driftzvood of the Stage. 343 

Nancy Sykes draws herself across the stage, 
covered with blood, after the fierce encounter 
with her husband. Bill Sykes, he having dis- 
covered that "Yer tried ter give me up ter the 
perlice, did yer?" (a piece of stage realism in 
which Miss Western excelled), she was phy- 
sically incapable of going on, and one of the 
stock actresses took her place. She was taken 
to the Pierrepont House in a coach, and about 
eight o'clock that night passed away. 

It was on the night of November 30, 1882, 
that Frank Frayne shot and killed Annie Von 
Behren on the stage of the Coliseum Theater, 
Cincinnati. Frayne was playing in "Si Slo- 
cum," a sort of travesty on "Wiliam Tell," and 
took the part of Si Slocum and Miss Von 
Behren that of Ruth Slocum, his wife. Si, who 
had been taken prisoner, was to get his free- 
dom if he shot an apple from his wife's head 
while standing with his back toward her. He 
had performed the feat in the principal cities 
of the country, but on this night a catch spring 
gave way, and the bullet from his rifle struck 
Miss VonBehren in the forehead and she fell 
to the floor. Frayne ran to her side and fell 
in a faint beside her. She died within half an 

344 Driftwood of the Stage. 

In 1898 Ethel Marlowe died from heart dis- 
ease at the Empire Theater, New York, during 
a performance of "The Christian." Her sister, 
Virginia Marlowe, in 1896, and her father, 
Owen Marlowe, in 1876, also died on the stage 
in view of the audience. 

To die on the stage while bowing acknowl- 
edgement of an encore was the fate of Jennie 
Reed, an elocutionist, who was giving readings 
at Lansingburg, N. Y., in November, 1902. 
She had finished a selection, and in response 
to an encore, stood bowing to her audience. 
Suddenly she gasped, threw up her hands and 
fell face forward on the stage. She did not 
regain consciousness, and died, the fall having 
fractured her skull. 

Consumption had fastened itself on Irma 
Golz, an opera singer who was well known in 
Austria. Her physician was compelled to ap- 
prise her of the fact, and order the cancella- 
tion of arrangements for a tour of Europe and 
America. At midnight she asked that she be 
removed from her bed to an arm chair, and 
that she be dressed in the costume of her favor- 
ite character in "La Traviata." Having said 
farewell to her husband and relatives, the room 
was brilliantly illuminated at her request, and 

Driftwood of the Stage. 345 

her brother played Mendelssohn's "Fruehlings- 
lied" on the piano. The dying woman followed 
the music with her voice until with the words 
"earth to earth," she fell forward to the floor, 

A sad ending, indeed, was the lot of poor 
Polly McDonald. Her clothes caught fire and 
she was burned to death at the City Hotel, 
Providence, R. I., in 189 1. 

346 Driftwood of the Stage. 


Actors very often disappear from the public 
view, and it is wondered what becomes of them. 
Were they dead, it would be given to the world 
by the newspapers. But where are they? In 
some cases the favorites of bygone days are 
pushed aside and younger ones have taken their 
places. What pleased in their day is not wanted 
now. Some tire of theatrical life and seek other 
occupations. Not many leave it with a com- 
petency. Some retire to the farm to spend 
their days in peace and quiet. Others take up 
a mercantile life. We find them in all kinds of 
business and in different localities. 

It very often occurs that those in the pro- 
fession are called to positions of honor and 
trust by the people. They seem to be especially 
fitted to fill positions in the public service. The 
discipline to which they have been subjected 
in the theater, and the knowledge that success 
can only be attained by close attention to the 
needs of the people, are of great help to them. 

Driftwood of the Stage. 347 

Furthermore, there has never been a case where 
one of them ever violated the confidence and 
trust reposed in him. Of course, it would be 
impossible to here attempt to name all those 
who have been thus honored, but some of those 
prominent in the amusement world may prove 
of interest. 

Nathaniel P. Banks was an actor, and played 
Claude Melnotte to the Pauline of Charlotte 
Cushman in "The Lady of Lyons." He be- 
came a major-general of volunteers and one of 
the most conspicuous figures in the civil war. 
He was governor of Massachusetts for two 
terms, and also served many years in the House 
of Representatives, and as speaker of that body. 
Daniel McAuley, who rose to the position of 
major-general in the civil war, and who was 
mayor of Indianapolis for three or four terms, 
was an actor. 

H. A. W. Tabor was in theatrical life many 
years before he became governor of Colorado. 
He also served in the United States Senate 
from that state, and filled the position with 
marked ability and dignity. Heber Wells, who 
became governor of Utah, was an amateur 
actor of much talent. When James H. Stod- 
dart went to Salt Lake City to put on "Saints 

348 Driftwood of the Sta^e. 

and Sinners" for a week's run, under the aus- 
pices of an amateur association, Mr. Wells 
played the part of Ralph Kingsley in a manner 
that would have been creditable to any profes- 
sional actor. George W. Peck, who was re- 
sponsible for "Peck's Bad Boy," became mayor 
of Milwaukee, and later governor of Wiscon- 

Robert Taylor was an amateur violinist of 
ability as well as a leading lawyer when he 
accepted the Democratic nomination for gover- 
nor of Tennessee. His own brother was his 
opponent in the race, having received the Re- 
publican nomination. When "Governor Bob," 
as the people loved to call him, went on his 
campaign he took his instrument along and in- 
terspersed his speeches with sweet music, and 
fiddled himself not only into the hearts of the 
people, but into the governorship of the state. 
C. G. Conn was a professional musician in his 
youth, being recognized as a player of merit on 
the cornet. Through an accident a serious in- 
jury occurred to his lip, and he was forced to 
give up this instrument. He did not become 
discouraged, however, but turned his thorough 
knowledge of brass instruments into good use 
and started a small factory for their manu- 

Driftwood of the Sta^^e. 349 

facture. This factory, which was located at 
Elkhart, Ind., became one of the largest in the 
world. Mr. Conn was elected mayor of his 
city, and also to a seat in the state leo^islature. 
He afterwards became a member of con,s^ress 
from his district. 

Charles H. Crisp was an actor before he be- 
came successively judge, member of congress, 
and speaker of the house. Julius Cahn left the 
stage for a seat in congress from California. 
Henry C. Miner, the manager of many thea- 
ters, was sent to congress from his district in 
New York, and James J. Butler, manager of 
the Standard Theater, St. Louis, was elected to 
congress from that district. Timothy D. Sulli- 
van for many years represented his district in 
the state assembly of New York, and later was 
given a seat in congress by his constituents. 
Dan Rice once had congressional aspirations, 
and put up a strong campaign, but was defeated. 
Will E. English served a term in congress from 
his district in Indianapolis. 

John B. Rice retired from the stage and 
became mayor of Chicago, a position he held 
for many years, and also served as a member of 
congress. He was one of the pioneers of the 
theater in the west, and all the famous actors 

3 so Driftwood of the Sta^e. 

of by-gone days appeared under his manage- 
ment. Charles Glidden, a once popular ban- 
joist, became mayor of Astoria, Oregon. 

Thomas M. Patterson, a senator from Colo- 
rado, at one time was a circus manager, being 
associated with two other young men from his 
home city, Crawfordsville, Ind. John T. Ford 
was elected president of the city council of 
Baltimore, Md., and by force of circumstances 
was acting mayor of the city for two years, and 
filled the office with marked ability. He was 
manager of the theater in which President Lin- 
coln met his death. He was arrested at the 
time and kept in confinement for a short period. 
It was clearly proven that he knew nothing of 
the conspiracy and he was discharged and 
exonerated from all blame. 

James E. Boyd, at one time manager of 
Boyd's Opera House, Omaha, Neb., was elected 
governor of his state. Robert Taylor Conrad, 
w^ho gave to the stage several plays of distinc- 
tion, served the city of Philadelphia as mayor. 
His first play, ''Conrad, of Naples," was pro- 
duced by James E. Murdoch. He wrote "J^^k 
Cade" for A. A. Addams, who failed in it. Mr. 
Conrad rewrote the play for Edwin Forrest, 

Driftwood of the Sta^e. 351 

changing the name from "The Noble Yeoman" 
(its original title) to ''Jack Cade." 

E. B. Sweet landed in Poughkeepsie, N. Y., 
in advance of "Washburn's Last Sensation" 
many years ago. He liked the town and the 
people. They elected him an alderman, and he 
served in that capacity for a long time. Louis 
C. Behman was an alderman at Brooklyn, N. 
Y. King Cobb, manager of the Grand Opera 
House, Evansville, Ind., became chief of police 
at that city. 

Kyrle Bellew at one time held a commission 
in the British navy, being attached to the 
cruiser "Conway," and for eight years followed 
the sea. Thomas Brougham Baker, actor and 
manager, was the adopted son of John 
Brougham, He made his first appearance on 
the stage in 1847, ^^^ played regularly with 
the old stock companies until the outbreak of 
the civil war, when he enlisted in the Union 
army. He won rapid promotion and before 
the close of the war had attained the rank of 
colonel. It was almost entirely due to his 
personal efforts that the National Cemetery was 
established at Washington. When peace was 
declared Mr. Baker returned to the stage and 
made a number of long tours in America and 

352 Driftwood of the Staf^e. 

in England with John Brougham, Laura Keene 
and other stars. After permanently retiring 
from the stage Mr. Baker re-entered the gov- 
ernment service as assistant transportation 
agent in the quartermaster's department of the 
army. He remained in this position until his 

A. Oakey Hall, who served as district attor- 
ney and also as mayor of New York, astonished 
the public shortly after the expiration of his 
term of office, by appearing as Wilmot Kinslow, 
a lurid character, in a play called "The Cru- 
cible," at the Park Theater, Broadway and 
Twenty-second Street, at that city. Charles H. 
Hoyt was elected to a seat in the legislature 
from his district in New Hampshire. James 
B. Camp filled the office of city treasurer at 
Louisville, Ky., and Emil Bourlier for many 
years was secretary of the fire department at 
the same city. Neil Bryant held a position in 
the treasury department at Washington, D. C, 
and Bill Nye was postmaster at Laramie, Wyo- 
ming. Buffalo Bill was a member of the state 
legislature of Nebraska, and also served on the 
governor's staff in the same state. It does not 
very often occur that a person in amusement 
circles becomes the president of a national bank, 

Driftwood of the Sta^e. 353 

yet P. T. Barnum and Pawnee Bill were both 
honored by elections to this position. 

John Howard Payne, author of "Brutus'* 
and sixty other plays, as well as the celebrated 
song, "Home, Sweet Home," and at one time 
styled the "American Roscius" in England, re- 
tired from theatrical life and was appointed 
United States Consul at Tunis, which he held 
for some time. Thomas Nast, the artist and 
lecturer, and who should be justly accredited to 
the amusement world, was appointed United 
States Consul at Guayaquil, Ecuador. Both of 
these gentlemen died at their posts. Charles 
Pope, the actor-manager, was for a long time 
United States Consul at Toronto, Canada. 

John A. Lane, an actor who was long in the 
support of Booth, Barrett, and Modjeska, re- 
tired from the stage to accept a position of re- 
sponsibility and trust in the Philadelphia post- 
office. Bingley Pales, an actor of great promise, 
became assistant prosecuting attorney of Wayne 
County, Mich. James W. Lingard, after re- 
tiring from the profession, held a position until 
his death in the revenue service at New York. 
John J. Enright was appointed postmaster at 
Detroit, Mich., during the administration of 
President Cleveland. 

354 Driftwood of the Sta^e. 

John Whallen was appointed chief of police 
at Louisville, Ky., and during his administra- 
tion the department was brought up to a high 
standard of efficiency. He also served on the 
staff of the governor of the state with the rank 
of colonel. Walter L. Thompson gave up 
theatrical life to become a policeman at New 
York, passed through all the grades to the posi- 
tion of inspector, and was retired with that 
rank after more than forty years' service. 
James Canoll left the profession for a place on 
the police force in the same city. He rose to 
the rank of captain and was in command of 
the Ninth precinct at the time of his death. 
Henry Doehne gave up a position as musical 
director at McVicker's Theater, Chicago, for a 
place on the police force of that city, but soon 
tired of it; and James Carroll, once a popular 
minstrel, became a detective sergeant at Brook- 
lyn, N. Y. John McVicker, a former vaude- 
ville performer, became a justice of the peace 
at Boston, Mass., and "Biff" Hall, a writer on 
theatricals, was a police magistrate at Chicago 
at the time of his death. 

Lon Hayle, a once famous dancer, became an 
officer in the Kansas City fire department, and 
many modern fire appliances are of his invent- 

Driftwood of the Stage. 355 

ing. To him belongs much of the credit for 
the world wide reputation of that department. 
Alexander McBride, a favorite actor, was 
elected an alderman at Philadelphia, and con- 
tinued in office up to the time of his death. 
James McColgan was manager of the Inter- 
national Comique, and William J. Gallagher 
one of the managers of the Grand Central 
Theater, when elected aldermen from their re- 
spective wards at the same city. Jeppe Delano 
became an alderman at Niles, Mich., and Louis 
Epstean represented the second ward in the 
common council at Chicago. W. W. Rapley 
was for a long time a councilman at Washing- 
ton, D. C. 

Charles Welch, one of the pioneer vaudeville 
managers of the west, was for four years an 
alderman at Detroit, Mich., and James H. Kelly 
left the sawdust arena for the position of deputy 
city clerk at the same city, which he held for 
many years. Patrick Conly was an alderman at 
St. Paul, Minn., and James Fleming left the 
box office to become a harbor master at New 
York, where he remained for many years. 
Joseph H. Tooker was the mayor's marshal, 
school trustee, and managed a New York theater 
at the same time. Eugene E. Schmitz, musical 

356 Driftwood of the Stage. 

director of the Columbia Theater, San Fran- 
cisco, Cal., was elected mayor of that city in 
1 90 1, and again in 1903, and his administration 
was marked by much ability. Many of his 
ideas for the beautifying of the city and im- 
provements in public service were successfully 
carried out. 

Mason Mitchell, a popular leading man, en- 
listed in the famous regiment of rough riders 
organized at the outbreak of the Spanish-Am- 
erican war, and commanded by President 
Roosevelt. He was severely wounded at San 
Juan in the gallant charge up the hill. Mr. 
Mitchell was honored by an appointment as 
United States Consul at Zanzibar by his former 
commander soon after the close of the war. 
Hugh and Henry P. O'Neill were clever gym- 
nasts and known in the amusement world as 
the Goldie Brothers. When they retired from 
the profession they became school teachers, and 
both were made principals of public schools at 
New York. To them was entrusted the work 
of preparing the first ritual in use by the Be- 
nevolent and Protective Order of EJks. 

J. J. McCloskey, both actor and author, on 
his retirement from professional life, accepted 
a position in the City Court at New York, 

Fi^orence; Reed. 

Driftwood of the Stage. 357 

which he filled for many years. Hubbard Tay- 
lor Smith, the song writer, became vice-consul 
general of the United States at Cairo, Egypt. 
Mr. Smith is best known as the author of 
''Listen to My Tale of Woe," and other com- 
positions. One of his songs, ''Sweethearts and 
Wives," is sung on every naval vessel through- 
out the world at mess on Christmas night. 

Duncan B. Harrison, actor and manager, 
offered his services to his country during the 
Spanish-American war, and rapidly rose to the 
rank of lieutenant-colonel of volunteers. Ezra 
Kendall was an officeholder at one time. The 
following is an entry which stands on the re- 
cords of the town of Clean, N. Y., in minutes 
of the village trustees' meeting of July 7, 1876: 
"Moved and carried that for the sum of one 
dollar Mr. E. Fremont Kendall be licensed as 
public crier and bell ringer for the village of 

358 Driftwood of the Stage. 


Theatrical folks have strange experiences; 
some are funny and others are far from it. They 
adapt themselves to circumstances, and as a rule 
nothing surprises them. 

Henry Irving and his company were playing 
"Faust" at the time of the great blizzard at 
New York in March, 1888. The house where 
they played was one of the very few theaters 
in the city open that night. Next day Mr. 
Irving was accused, in a good-humored way, by 
the press of hard-heartedness in compelling the 
members of his company to go to the theater 
on such a terrible night. They had never seen 
a blizzard before, and none of them realized 
what it was like. Every single member of the 
company, however, turned up, and they played 
to one of the most crowded and enthusiastic 
audiences they had ever acted to in their lives. 

The house was packed from floor to ceiling 
with — dead-heads. Every seat in the house had 
been sold, but the weather was too bad for 
tliose who had paid to care to go out. On the 

Driftwood of the Sta^e, 359 

other hand, many of the theaters being closed 
and the actors not playing, they went to see Mr. 
Irving. There was hardly an actor in New 
York who was not at the performance, which 
was a unique one under the circumstances. 

3|C ^ ^ ^ ^ 2^ 

At McVicker's Theater, Chicago, April 23, 
1879, Edwin Booth was playing in ** Richard 
the Second," and had reached the soliloquy in 
the prison scene of the fifth act, when suddenly 
a man in the balcony fired a shot at him with 
a pistol. Mr. Booth, looking up, saw a man 
leaning over the balcony railing and raising his 
pistol for a second shot. The shot was fired 
and then Mr. Booth slowly rose, stepped to the 
front of the stage and looked inquiringly to- 
wards the balcony. He saw the would-be as- 
sassin, saw the pistol raised for the third shot, 
turned around, and deliberately walked back 
out of sight. In the meantime, his assailant 
was seized from behind, and was not permitted 
to pull the trigger for the third time. Much 
coolness was displayed by Mr. Booth, who in 
a short time reappeared on the stage and fin- 
ished the act. The shots were fired by a stage- 
struck lunatic named Mark Gray. He was 
promptly arrested and confined. He said he 

360 Driftwood of the Stage, 

was a clerk, a resident of St. Louis, Mo., 
twenty-three years old, had for three years been 
preparing to kill Mr. Booth, and much re- 
gretted his failure. For some time he was con- 
fined in the lunatic asylum at Elgin, 111., but 
ultimately was released through the intercession 
of friends. Mr. Booth had one of the bullets 
set in a gold cartridge, and kept it as a me- 
mento, wearing it attached to his watch chain. 

During the tour that Kyrle Bellew and Mrs. 
Potter made around the world they appeared 
before the smallest audience ever heard of. 
Not only was it the smallest, but it was the 
most amusing. The place was Hyderabad, 
India, and the audience contained two people. 
One of these was the mizan, the chief native 
prince of India. 

The mizan had an English secretary, and this 
youth urged the potentate to send a train of 
elephants and a retinue of servants to meet the 
actors when they arrived at the railway station. 
This he did, and they were borne in state to the 
royal palace at Hyderabad. There they had 
two days of delightful repose until the mizan 
should desire their presence to interpret the 
great English playwright. They appeared be- 

Driftwood of the Stage. 361 

fore his lordship, and delivered scenes from 
the Shakespearean tragedies and comedies. The 
mizan sat high on his throne of brilliant stones, 
shaded by a canopy, and every once in a while 
Mr. Bellew would say to Mrs. Potter under 
his breath, *'What strict attention he does pay. 
I wonder if he understands it?" To this Mrs. 
Potter would reply: "He has not moved in 
twenty minutes." And this was true. It was 
not until they were leaving the palace that it 
was found out from the English secretary, who 
had been the other auditor, that his highness, 
the mizan, had slept in supreme comfort during 
the entire recital. 

An incident that was not soon forgotten 
happened at a benefit for the Elks at Denver, 
Col. The performance was made up of volun- 
teered acts. One of these was the shambles 
scene from "Virginius," presented by Frederick 
Warde, and another was a negro act by Johnny 
Ray, whose turn came just ahead of Mr. 
Warde's, which was unfortunate for both of 
them. Ray's act was ended when a big pro- 
perty bug descended from the flies, hooked it- 
self on to his belt at the back — with his assist- 
ance, of course — ^and then lifted him kicking 

362 Driftwood of the Sta^e. 

and gasping, to the tipper regions. As he dis- 
appeared the curtain fell and he was to have 
been lowered to the stage. The rope, however, 
caught in the pulley, and try as hard as they 
could, the stage hands failed to release him. 

There hung Ray dangling in thin air, with 
that leather belt eating its way into his tender 
w^aist places. When they found they could not 
get him down, up went the curtain and on came 
Mr. Warde. He knew Ray was up there. He 
could not forget it. Every moment or two he 
would look in that direction and slide away 
from beneath him. He forgot his lines, he for- 
got the business, and when Ray groaned — that 
belt hurt him so — he all but bolted from the 
stage. Finally, however, he managed to seize 
the knife, and, advancing toward Virginia, was 
about to inflict the fatal stab when something 
gave way. It was that belt. Down came Ray, 
lighting on his feet like a cat, squarely between 
the Roman father and his child. Mr. Warde 
dropped the knife and doubled up, and poor 
Virginia went into hysterics as a mighty roar 
arose from the crowded house. 

^ ^ :(c s|( Ne 

Despite all that is occasionally said to the 
contrary, there are many hotels in thriving cities 

Driftzvood of the Stage. 363 

in the New England states that are decidedly 
primitive in their accommodations. There are 
mornings when water either for the bath or 
for laving is not to be obtained because the 
pipes are frozen. William H. Crane thought 
he reached the limit in one city in New Hamp- 
shire. He got to the hotel from the opera 
house about half-past eleven, and in getting his 
key asked that some ice water be sent him. 

*' Can't do it," said the young man, with the 
red tie, who stood behind the desk. 

"Why not?" asked the actor. 

"Well, you see," he replied, "there's a troupe 
in town and we are short of pitchers." 

A burly, red-faced fellow, who was warming 
himself at the stove, was an interested listener 
and he burst into a loud and hearty laugh as he 
howled : "Be the troupers rushing the growler ?" 

There is a favorite story of the theater that 
used to be told, and well told, by Augustin 
Daly, and concerned a resident of New Jersey 
who went to New York to see the sights and 
determined to attend the performance of "The 
Fortv Thieves." Stepping up to the box office 
he laid down a five dollar bill and asked for one 
of the best seats. A punched coupon and three 

364 Driftwood of the Stage. 

dollars were handed him. When he asked what 
the ticket cost and was told two dollars, it was 
evident he had not calculated higher tlfen half 
a dollar. 

''Two dollars to see 'The Forty Thieves/ 
eh?" he repeated. 

*'Yes, sir," replied the treasurer. 

"Well, keep your durned seat!" exclaimed 
the Jerseyman, picking up the three dollars 
change. "I don't think I care to see the other 

He H: H: H( sK 

It is related that Mr. Mansfield once sent for 
a well-known actor to consult about undertak- 
ing a part in his proposed revival of "J^li^s 
Caesar." The actor was one of those that ap- 
preciate their own importance. 

"Good morning," said Mr. Mansfield, with 
unwonted cheeriness, as the gentleman ap- 
peared. "You know I am preparing 'Caesar.' 
I have a capital part for you; but before we 
go into details as to that let me know your 
salary." As he spoke he turned to his desk to 
adjust some memoranda. 

"Four hundred dollars," replied the actor. 

Mr. Mansfield continued his work, with his 
back turned toward his visitor, but replied 

Driftwood of the Sta^e. 365 

pleasantly : ''You will please shut the door 
when you go out, won't you?" 

^ 3|C 3|C 3JC 3|C ^ 

Away out in Nebraska, one Sunday night, a 
dramatic company was sidetracked at a some- 
what wild little village, judging from the cow- 
boys on horseback who were prancing around 

the rough railway station. 

Cowboys are a quick-witted lot. They soon 
found out that the company carried a band, and 
presented a vigorous request for a serenade. 
The leader demurred on the ground that the 
music might interfere with the services of a 
little ("hurch, lighted brilliantly, not far from 
the station. One of the cowboys said that when 
people out there went to church at night, every 
member carried his or her own coal-oil lamp; 
and that custom accounted for the very bright 
light streaming from the small windows of the 

"Stranger," said one of the cowboy gang, 
"will y' play after church is out ?" 

"Yes," the leader grudgingly replied, "if our 
train is still here we'll play when church is 

Quick as a flash the cowboys wheeled on 
their horses, and at a signal dashed away at 

366 Driftwood of the Sta^e. 

break-neck speed. Soon a great racket was 
heard over the hill, where the church was sit- 
uated. Pistols popped as if an old-fashioned 
Fourth of July celebration had been let loose. 
Then, in a twinkling, the sound of flying hoofs 
returned, the cowboys crowded up around the 
station platform again, and their leader 
shouted : 

"Tune up, and let her go, stranger; church 
is out!" 

A story is told of Richard Harding Davis, 
who makes no pretense of being a pianist, but 
who does play the guitar and sing well. - Hav- 
ing composed a musical setting to Kipling's 
"Danny Deever" with that instrument, he 
picked it out, quite in the secrecy of his home, 
on the piano. The accompaniment to his voice 
consisted of a few chords, which from frequent 
repetitions he fixed in his memory. 

One night Mr. Davis was at an evening 
party of musical people, many of them cele- 
brated composers. As a joke some one asked 
him to play one of his own compositions. To 
every one's surprise, he consented, and boldly 
went to the piano, where he eyed the keys in a 
puzzled way. Turning to Paderewski, he said : 

Driftwood of the Stage. 367 

"I can't find the starting note. I composed 
my tune on a Steinway, and this is a Weber. 
Where should the note that is under the W on 
a Steinway be on a Weber?" 

When Ward and Yokes were playing a 
western town a few years ago, they noticed 
during rehearsal that the cornet player in the 
orchestra was very bad; in fact, he was making 
notes on his instrument that neither one of 
them had ever heard before, or had any idea 
could be produced. The comedians stood the 
discord for a time, and then realized that they 
must ged rid of the offending musician, or the 
night performance would certainly be ruined. 
When rehearsal was over, Mr. Ward called the 
musician aside, and told him that he thought 
the music was too difficult for him to read, and 
not to come around that night as he would not 
be allowed to play. At the night performance 
the musician showed up with his instrument, 
but was stopped by Mr. Ward, who said: 
"Look here, old man, I thought I told you not 
to come around here to-night. Now you might 
as well go home as we will not let you play." 

The musician looked at Mr. Ward for a 
minute and then said: "Well, I guess I will 

368 Driftwood of the Sta^e. 

play to-night or you fellows don't play. I want 
you to understand that I am the mayor of this 
town, and I won't give you any license." 

Joseph Jefferson was playing on one oc- 
casion at Minneapolis when a committee waited 
on him and asked if he would not consent to 
appear at a benefit to be given the next after- 
noon in aid of the families of several firemen 
who had been killed shortly before while in the 
performance of their duties. Mr. Jefferson 
consented to appear and deliver a talk on the 

The next afternoon found a large gathering 
of professionals, including a number of vaude- 
ville performers, all feeling honored to par- 
ticipate in an affair of that kind, especially as 
they were to "play with Jefferson." Many 
stood in the entrances as Mr. Jefferson began 
his address on the drama, and were deeply in- 
terested in what that distinguished player was 
saying, when suddenly a frivolous young wo- 
man came upon the scene. She was blonde of 
tress and wore short pink skirts. The song 
and dance artist was indelibly stamped on her. 
At the moment Mr. Jefferson, with rare elo- 
quence, was referring to the comedies of 

Driftwood of the Sta^e. 369 

Wycherly and Sheridan and Goldsmith, all 
were startled to hear, in a loud whisper from 
somewhere back in the wings, a shrill, girlish 
voice saying: "Hi, Mame, who's on now?" 

The song and dance lady turned her head, 
and whispered back : "I dunno. Some old guy 
doin' a monologue." 


Abbey, Henry K., 118. !!«, 

136, 294, 313. 
Abbey, Schoetfel, and Grau, 

Abbott, Emma, 167. 
Ab€rle, Jac, 126, 127, 128. 
Aberle, l^ena, 126, 127, 128. 
Adams, Edwin, 103, 132, 133 

Adams, Eucille, 177. 
Adams, J. T., 150. 
Adams, Maude, 21. 
Adams, Yank, 268. 
Addams, A. A., 350. 
Aldrich, Eouis, 110. 
Aldrich, Thos. Uailey, 79, 319. | 
Allen, Ethel, 328. i 

Allen, J. H., 285. j 

Allen, Johnny, 253, 256. j 

Altman, Charles A., 310. | 

Ames, Emil, 113. I 

Anderson, Mary, 133, 145, 243. 
Anglin, Margaret, 121, 122. 
Angus, Lottie, 324. 
Arbuckle, Maclyn, 222, 223. 
Archer, Belle, 173. 
Asche, M. G., 49, 52. 
Ashton, John E., 112. 
Atzerodt, George, 234, 235. 

Backus, Charles, 135, 252, 253. 
Bailey, James A., 210. 
Baker and Earron, 262. 
Baker, Thomas Brougham, 351, 

Bangs, Erank C, 192, 220, 311. 
Banker, Ed, 113. 
Banks, Dolly, 174. 

Banks, Maj.-Gen. N. E., 299» 

Barilli, Ettore, 127. 
Barnum, E. T., 108, 150, 270, 

299, 313, 353. 
Barrett, Lawrence, 76, 77, 105, 
117, 118, 133, 140, 187, 215, 
216, 301, 313. 
Barron, Charles, 122, 135. 
Barry, Billy, 112. 
Barrymore, Ethel, 130. 
Barrymore, Georgia Drew, 131, 

Barrymore, Maurice, 131, 338. 
Bartlett, Jonas, ^51. 
Bass, Alden, 105. 
Bateman, H. E., 191. 
Behman, Eouis C, 112, 310, 

Belgarde, Adele, 180. 
Bellew, Kyrle, 351, 360, 361. 
Benedict, Alden, 110. 
Bennett, James Gordon, 314. 
Benson, Jennie, 34, 262. 
Bentley, Rev. Walter E., 146. 
Bergman, Carl, 195. 
Bernard, Caroline Kichings, 

Bernard, Sam, 311. 
Bernard, W. S., 252, 253. 
Bernhardt, Sarah, 139, 169, 

Bidwell, David, 304. 
Bingham, Amelia, 137, 210. 
Birch, William, 135, 252, 253, 

Bishop, Charles B., 339. 
Bispham, David, 130. 



Bispham, William, 79. 

Blocksom, Harry, 312. 

Blume, John H., 49, 52. 

Bellas, Tom, 267. 

Kond, Frederick, 327. 

Boniface, Stella, 135. 

Boos, Addie, 174. 

Booth, Agnes, 135, 138. 

Booth, Asia (Mrs. J. S. Clarke), 

Booth, Edgar, 79. 

Booth, Udwin, 69, 70, 76, 77, 
78, 79, 104, 107, 114, 116, 
117, 133, 140, 187, 188, 216, 
227, 231, 236, 270, 313, 359, 

Booth, Mrs. Edwin (Mary Dev- 
lin), 79, 166. 

Booth, Mrs. Edwin (Mary F. 
McVicker), 79, 117, 166. 

Booth, John Wilkes, 103, 226, 
227, 229, 231, 232, 233, 234, 

Booth, Joseph, 235. 

Booth, Junius Brutus, 103, 226, 

Booth, Junius Brutus, Jr., 117, 
227, 270. 

Bosworth, Harry, 49, 52. 

Boucicault, Dion, 135. 

Bourlier, Emil, 352. 

Bouton, Mabel, 174. 

Bowers, Mrs. D. P., 131. 

Bowman and Harris, 262. 

Bowron, William Lloyd, 48, 50, 

Boyd, Belle, 175. 

Boyd, James E., 350. 

Bradley, Jimmy, 190. 

Brady, James W., 53. 

Braham, Joe, 190. 

Brewer, John H., 53. 

Brookes, Mrs. Elizabeth, 250, 

Brookes, George, 269. 
Brookyn, May, 177. 
Brougham, John, 131, 132, 187, 

192, 351, 352. 
Brower, Frank, 249. 
Brown, Walter 261. 
Brown, William Hallam, 52, 
Bruce, Miriam, 138. 
Bryant, Dan, 157, 163, 269. 
Bryant, Neil, 352. 
Bryant, William Cullen, 107, 

Bryant, W. T., 113. 
Brydges, Castell, 338. 
Bryton, Frederick, 104. 
Buchanan, McKean, 186. 
Budworth, Jim, 260. 
Buffalo Bill, 110, 352. 
Bulwer, Mr., 71, 72. 
Burdette, Robert J., 148. 
Burk, Major John E-, 267. 
Burke, Master Joseph, 179. 
Burroughs, Claude, 328, 329. 
Burton, William E-, 187. 
Butler, Etta, 175. 
Butler, James J., 349. 
Butler, Robert W., 260. 
Byron, Oliver Doud, 20. 

Cahn, Julius, 349. 
Cameron, William C, 310. 
Camp, James B., 352. 
Campbell, Bartley, 110. 
Campbell, John C, 57. 
Cannon, Pete, 159. 
Canoll, James, 354. 
Carleton, Will, 34, 48, 63, 159. 

Carmencita. 175. 



Carncross, J. L., 157. 
Carroll, James, 354. 
Carter, James, 52. 
Carter, Mrs. Leslie, 20. 
Carter, William, 52. 
Castellan, Mile., 195. 
Castlemary, 216. 
Castleton, Kate, 173. 
Cathcart, James F., 293. 
Cay van, Georgia, 129. 
Chamberlyn, A. H., 108. 
Chanfrau, Frank S., 268. 
Chappelle, w; J., 105. 
Chin Fong, 85. 
Christy, ii. P., 154, 260. 
Christy, George, 260. 
Clark, James, 57. 
Clark, Nellie, 262. 
Clarke, Annie, 121, 122. 
Clarke, Corson W., 71. 
Clarke, Creston, 138. 
Clarke, John S., 246, 268. 
Claxton, Kate, 328, 329. 
Clay, Anna, 171. 
Clements, Frank, 340. 
Clements, M. J., 328. 
Cleveland, President, 353. 
Cleves, Miss L., 328. 
Clifford, Fdwin, 105. 
Clifton, Ada, 285. 
Cline, Emma, 195. 
Cobb, King, 351. 
Coghlan, Charles, 135. 
Coghlan, Rose, 135, 141. 
Cohan, George M., 309. 
Coleman, Fdward, 115. 
Collins, Charles E., 264. 
CoHyer, Sam, 267. 
Cone, Spencer, 149. 
Conly, Patrick, 355. 
Conn, C. G., 348, 349. 
Conner, Fdmon S., 73. 

Conrad, Kobert Taylor, 360. 
Conquest, Ida, 21. 
Conway, Mrs. F. B., 180. 
Conway and Kerrigan, 263. 
Cooke, DeWitt, 262. 
Cooke, George Frederick, 104. 
Corbett, Sergeant Boston,. 23.3. 
Core, Signor Bueno, 264. 
Cotton, Ben, 163. 
Cotton, Ben., Jr., 113. 
Couldock, Charles W., 116. 
Courtwright, Billy, 264. 
Crabtree, iyOtta (Lotta), 117, 

Crampton, Charlotte, 243, 301. 
Crane, William H., 16» 139» 

247, 363. 
Creese, Lizzie, 167. 
Crisp, Charles H., 349. 
Crosman, Henrietta, 210. 
Crossley and Flder, 268. 
Currie, James, 338. 
Curtis, M. B., 314. 
Cushman, Charlotte, 65, 117, 

134, 135, 145, 166, 180, 269, 

Cushman, Pauline, :i99, 300. 

Dalton, George, 328. 

Daly, Augustin, 22, 25, 29, 140, 

152, 153, 193, 241, 245, 269, 

315, 337, 363. 
Daly, Charles P., 79. 
Daly, Chief Justice, 106. 
Daly, H. F., 328. 
Daly, Judge Joseph F., 78. 
Daly, Thomas A., 338. 
Damrosch, Dr. Leopold, 107. 
Damrosch, Walter, 130. 
Davenport, F. L., 166, 186, 

187, 192, 193, 293. 
Davenport, Fdgar L., 309. 



Davenport, Fanny, 166, 241, 

242, 269. 
Davey, Thomas W., 18, 105. 

Davidge, William, 285, 339. 
Davis, Charles Iv., 110. 
Davis, Fay, 130. 
Davis, Jessie Bartlett, 140, 152. 
Davis, Kev. E^dward, 149. 
Davis, Kichard Harding, 366. 
Dawson, Kev. W. J., 148, 149. 
Deemer, Justice, 182. 
Delano, Jeppe, 355. 
Delehanty and Hengler, 164, 

253, 254. 
Denvil, Kachael, 171. 
DeKeszke, Jean, 216. 
DeTry, Mile., 195. 
DeVivo, Diego, 115. 
Devlin, Mary (Mrs. i^dwin 

Booth), 79, 166. 
Diamond, Charley, 266. 
Dickinson, Anna, 180. 
Dickson, Charles, 14. 
Dillea, Herbert, 321, 322. 
Dixey, Henry E„ 311. 
Dodson, J. £;., 138. 
Doehne, Henry, 354. 
Don, Laura, 294. 
Donnelly, Thomas, 53. 
Donniker, John B., 113. 
Dougherty, Hugh, 52, 157. 
Dowling, Joseph J., 312. 
Downing, D. L,., 194, 195. 
Drew, John, 16, 131, 309. 
Drew, Mrs. John, 20, 167, 239. 

240, 242. 
Dryden, Harry, 113. 
Dunbar, E. C, 263. 
Dyas, Ada, 135. 
l^yllyn, J. Bernard, 140, 312. 

Fddy, Fdward. 52, 104, 186, 

l^deson, George K., 14, 158. 
£:deson, Kobert, 14, 15. 
Edouin, Willie, 311. 
Fd wards, Henry, 141. 
Eldridge, Lillie, 70. 
Elliott, Maxine, 19, 152, 317. 
Ellsler, John, 105. 
Ellsworth, Colonel, 290. 
El Nino, Eddie, 264. 
Emerick, George H., 110. 
Emerson, Billy, 112, 164, 256, 

257, 258, 259. 
Emmett, Dan, 249, 250. 
Emmeit, J. K., 21, 110, 161, 

Emmett, William (Billy), 112, 

English, Will E., 349. 
Enright, John J., 353. 
Epstean, Eouis, 355. 
Ethel, Agnes, 167, 193. 
Evans, Lizzie, 20. 
Evans, Thomas, 105. 
Eytinge, Harry, 104. 

Fairbanks, Avonia, 184. 
Fales, Bingley, 353. 
Farren, Mrs. 328, 329. 
Farrettee, Signorita, 3 95. 
Fatma, Sing Hpoo, 176. 
Faversham, William, 129. 
Fechter, Charles, 34, 105, 106, 

131, 186, 187, 188. 
Fenton, Mabel, 140, 212. 
Field, Al. G., 310. 
Fielding, John and Maggie. 

Fielding, May, 152. 
Fish, Frovost Marshal, 301. 
Fisher, Charles, 106, 269. 



1^'isk, Colonel James, Jr., 191, 

192, 193, 194 195, 196, 197, 

198, 200. 
Fiske, Mrs. (Minnie Maddern), 

18, 145. 
Fitch, Clyde, 138. 
Flagg, Chaplain, 201, 
Fleming, James, 355. 
Florence, Mr. and Mrs. W. J., 

198. 216. 
Florence, William J., 108, 141, 

242, 313. 
Flynn, Joe, 312. 
Ford, John T., 350. 
Forepaugh, Adam, 108. 
Forrest, Jidwin, 12, 13, 70, 71. 

72, 73, 76. 108, 120, 186, 

268, 286, 287, 289, 290, 291, 

333, 350. 
Forrest, Mrs. Edwin, 170, 291. 
Fosberg, Harold. 324. 
Foster, Stephen C, 106, 154, 

Four Prophets, 267. 
Fox, Charles K., 109. 
Fox, George U, 70, 109, 188, 

240, 301. 
Foy, Uddie, 320. 
France, Sid C, 257. 
Frayne, Frank, 343. 
French, Helena (Mrs. W. F. 

Hoey), 176. 
French, Minnie (Mrs. Charles 

E. Evans), 176. 
Frohman. Charles, 121, 122. 
Frohman, Daniel, 153, 310, 317. 
Fulton, Carrie, 174. 
Furness, Horace Howard, 79. 

Gallagher and Barrett, 140. 
Gallagher, William J., 355. 

Garwood, Charles A., 106. 

Gaylor, Bobby. 312. 

Gaynor, Thomas G., 52. 

Giesman, Mrs., 48. 

Gilbert, John, 105, 131, 135, 

Gilbert, Mrs. G. H., 132. 
Gilbert, William, 113. 
Gilday, Charles, 113. 
Gillette, William, 17, 225. 
Gilmore, F. S., 338. 
Girard, Kate, 328. 
Glenn, James, 50, 52. 
Ghdden, Charles, 350. 
Godwin, Tarke, 79l 
Golden, Grace, 173. 
Goldie, Claude, 52. 
Goodwin, Nat C, 16, 137, 317. 
Golz, Irma, 344. 
Gough, John B., 151. 
Gould, Jay, 192. 
Granger, Maude, 135. 
Grant, Gen. U. S., 228, 230, 

Granville, Gertie, 171. 
Gray, Ada, 177. 
Gray, Mark, 359. 
Green, George J., 52. 
Green, George W., 53. 
Greene, Kev. Dr., 151. 
Griffin, William G., 52. 
Grover, Lieonard, 247. 
Gurr, xlnrry. 262. 
Guy, George, 53, 112. 

Hackett, James H., 116, 147. 
Hackett, James K., 17, 129. 
Hall, A. Oakey, 195, 352. 
Hall, Albert, 52, 56. 
Hall, William T. ("Bitt"), 110, 

139, 140, 354. 
Hallam, l^ewis, 179. 



Halleil, Frederick, 309. 
Hammerstein, Oscar, 310. 
Ham-Town Students, 267. 
Hanford, Charles, 141. 
Hanley, L,awrence, 141. 
Hanlon Brothers, 264. 
Hardy, Madeline, 174, 303, 304. 
Harkins, Daniel H., 109, 214, 

Harold, David E;., 231, 232. 

234, 235. 
Harrigan, Edward, 136, 137, 

138, 163, 267, 310, 313. 
Harris, Henry U., 309. 
Harris, Miss, 228. 
Harris, Mrs. William, 173. 
Harris, William, 121, 310. 
Harrison, Alice, 257, 264. 
Harrison, Duncan J5., 357. 
Harrison, Maude, 328. 
Harrison, W. B., 263. 
Hart, Katie, 174. 
Hart, Tony, 112, 136, 137, 163, 

Harte, Bret, 110. 
Haslam, Maud, 177. 
Hassett, Kate, 174. 
Hastings, Alice, 173. 
Haverly, J. H., 112, 313. 
Hawk, Harry, 302. 
Hawkins, l^ew, 140. 
Haworth, Joseph, 138, 242, 

243, 326. 
Hayes, Catharine, 289. 
Hayfe, Lon, 354. 
Hayman, AI., 318, 319. 
Haynes, Minna Gale, 138. 
Henderson, William, 313. 
Henglcr, John M., 187. 
Henry, Hi, 98. 
Henriot, M^le., 169. 

Herford, Beatrice, 130, 
Heme, James A., 12, 150, 238, 

Heron, Bijou, 269. 
Heron, Matilda, 132, 269. 
Herrmann, Alexander, 236. 
Hibbert, Louise, 293. 
Hicks, Charles C, 186. 
Hill, Jjitta Jidmunds, 174. 
Hillard, Robert C, 311. 
Hilton, Prof., 264. 
Hindle, Annie, 267. 
Hines, Wm. E., 312. 
Hoey, William F. ("Old 

Hoss"), 108, 217. 
Hoffman, Frederick, 53. 
Hoffman, Gov. John T., 195. 
Holland, George, 25, 26, 29, 

Holland, Mrs., 31. 
Holmes, Billy, 158. 
Holtum, Herr, 262. 
Home, Kev. John, 148. 
Hooley and Campbell, 248, 261. 
Houghton, Kev. George C, 32, 

Houghton, Rev. Dr. George H., 

23, 27, 32, 33, 78. 
Howard, Bronson, 138, 216, 

Howard, Carrie, 177. 
Howson, John, 339. 
Hoyt, Caroline Miskel, 176. 
Hoyt, Charles H., 109, 352. 
Hoyt, Flora Walsh, 176. 
Hudson, Leo, 340. 
Hughes, Archie, 52, 223, 224, 

Hunter, Grace, 173. 
Hyde, Richard, 310. 



Irish, Annie, 138. 

Irving, Henry, 22, 65, 358. 

Irving, Isabel, 21, 22. 

Irvini, Will, 113. 

Itwin, Flora, 20. 

Irwin, May, 20. 

Jack, John, 132. 
Jack, Sam T., 113. 
Jackson, Stonewall, 175. 
James, l^ouis, 16, 210, 269. 
Jamieson, George W., 71, 106, 

Janauschek, Mme., 210, 211. 
Jarrett and Palmer, 117, 134, 

Jefferson, Joseph, 25, 26, 79, 

133, 134, 141, 242, 284, 313, 

317, 368. 
Jennings, John, 113. 
Jepson, fjugene O., 311. 
Jerome, Ella, 174. 
Johnson, President Andrew, 

234, 235. 
Johnson, ^^astman, 79. 
Johnston, Kobert, 293. 
Jones, Kev. C. H., 148. 
Jones, George (Count Joannes), 

109, 184, 185. 
Jordan, George, 339, 
Jose, Richard J., 312. 

Kean, Charles, 104, 215, 334. 
Kean, iidmund, 104, 215, 284. 
Keene, l^ura, 132, 168, 230, 

Keene, Thomas W., 74. 
Kehoe, Sim, 261. 
Kelcey, Herbert, 141. 
Kellogg, Gertrude, 141. 
Kelly and i.eon, 248, 253, 254. 

Kelly and Violette, 140. 
Kelly, J^dwin, 263, 254. 
Kelly, Kev. Francis H., 147. 
Kelly, James H., 112, 355. 
Kelly, J. W., 112, 162. 
Kendall, Fzra, 16, 367. 
Kent, John T., 49, 52. 
Keough, William T., 310. 
Kemell, Harry, 112, 217, 296. 
Kernell, John, 112. 
Kidder, Kathryn, 21. 
Kimball, Moses, 122. 
King Sarbro, 268. 
Kiralfy Troupe, 34. 
Knight, George S., 103, 135; 

216, 217. 
Knight, Joseph, 57. 
Knowles, f;dwin F., 110, 239. 
Koehler, Charles, 141. 
Kynock and Smith, 34. 

tracy, Harry, 311. 
l,amb, F., 328. 
Ivancaster, A. F-, 31. 
J^ander, Col. Frederick W., 297. 
Ivander, Jean Davenport, 29?. 
l^andis. Dr., 183. 
l^ne, John A., 141, 353. 
Ivanghorn, Frank, 49, 53. 
Ivangtry, Mrs., 129. 
i^wrence. Bishop, 145. 
Ivcbrun, Addie, 262. 
Lee, Henry, 311. 
Iveffingwell, M. W., 302. 
l,eggett and Allen, 262. 
l^eMoyne, W. J., 301. 
Leon, Francis, 254. 
Leonard, Joseph, 52. 
Leslie, Harry, 268. 
Lester and Allen, 265. 
Lester, Billy, 112. 



J-,evi, Maurice, 16. 

Levick, Milnes, 104, 141, 269. 

Levy, Jules, 194, 195. 263. 

Ircwis, James, 78, 110, 269. 

Lewis, Tom, 255. 

Lincoln, I'resident, 199, 227, 

Lincoln, Mrs., 228. 
Lind, Jennie, 123, 166, 288, 

Lingard, Alice Dunning, 168. 
Lingard, James W., 52, 56, 

Lingard, William Horace, 267. 
Ling Look, 268. 
Linton, Harry, 311. 
Little Mac. 113, 257. 
Loftus, Cissy, 22. 
Lothian, Napier, Jr., 79, 108. 
Lothrop, G. JS., 310. 
Lotta, 117, 146. 
Louise, Mile., 262, 
Love, James H., 104. 

McAllister, Faul, 326. 
McAndrews, J. W., 113, 264, 

McAuley, Daniel, 347. 
McBride, Alexander, 355. 
McCaull, Col. John A., 103. 
McClellan, Gen. George U., 

McCloskey, J. J., 356. 
McColgan, James, 355. 
McCullough, John, 75, 76, 133, 

134, 218, 227, 243. 
McDonald, George F., 48, 60, 

52, 56. 
McDonald, James, 262. 
McDonald, Folly, 345. 
McDonald, Sadie, 176. 

McDowell, John G., 312. 
Mclntyre and Heath, 255. 
McManus, Charles A., 339. 
McVicker, John, 354. 
McVicker, Mary F. (Mrs. Jtjd- 

win Booth), 79, 117, 166. 
Macauley, Barney, 20. 
MacDonough, Thomas B., 303. 
MacKae, Bruce, 130. 
Macready, William C, 71, 72, 

284, 286, 287, 290, 291. 
Maddern, Lizzie, 18. 
Maddern, Minnie (Mrs. Fiske), 

Maeder, Fred, 303. 
Maflin, A. W., 268. 
Mainhall, Harry, 105. 
Mallory, Marshall H., 313. 
Mallory, Kev. Dr., 147. 
Mannering, Mary, 129. 
Manning, Billy, 113, 256, 257, 

258, 259. 
Mansfield, Richard, 364. 
Mantell, Robert, 17. 
Maretzek, Mr., 192. 
Marlowe, ^thel, 344. 
Marlowe, Julia, 18, 19, 130, 

Marlowe, Owen, 344. 
Marlowe, Virginia, 344. 
Martin, Frank, 105. 
Martin, Robert S., 53. 
Martinetti, Louis, 113. 
Mason, Charles A., 312. 
Mason, Henry, 57. 
Mather, Margaret, 171, 172, 

243, 244. 
Mathews, John, 328. 
Maxwell, George H., 257. 
May, Jessie, 171. 
Mayo, Edwin F., 103, 340. 



Mayo, iilla, 176, 

Mayo, Frank, VI, 21, 103. 140. 

192, 237, 238, 268. 
Menken, Ada Isaacs, 169. 170. 

Mestayer, William A., 108. 
Miaco, Tom, 113. 
Milbank, George, 108. 
Miles, Colonel, 18. 
Miles, Young, 263. 
Miller, Henry, 138. 
Mills, Harry, 312. 
Miln, Rev. George C, 146. 
Miner, Henry C, 108, 296. 

313. 349. 
Mitchell. Maggie, 145. 269. 
Mitchell. Mason, 356. 
Modjeska, Helena, 119, 141. 

Moe, Alfred. 264. 
Moliere. 339. 
Monier, Virginia, 71. 
Monroe, George W.. 311. 
Montague- West, Alice, 173. 
Montague, Henry J., 335. 336. 
Montague, Winnet'ta, 334. 
Montez, ivola, 171. 
Montgomery. H. W., 328. 
Montgomery, Walter, 334. 
Moore, Carrie, 264. 
Moore, Tom, 155. 
Mora, Helen, 174. 
Moran, Frank, 114, 253. 
Morant, Fanny, 285, 328. 
Mordaunt, Frank, 141. 
Morlacchi. Mile., 111. 
Morris. Clara, 137. 138, 148, 

193, 243. 
Morris, Felix. 110. 
Morris, Phyllis, 177. 
Morrison, I,ouis, 311. 

Morrissey and Fmerson. 34. 
Morse, isalmi, 118. 119. 
Morton. Sam. 312. 
Moseley, Frederick, 312. 
Mould, J. Wray, 107. 
Mudd, Dr. Samuel A., 231, 234, 

Mulligan, John, 52, 56, 57. 
Murdoch, Daisy, 177. 
Murdoch, H. S., 103, 328, 32», 

Murdoch, James F- 104, 186, 

297, 298, 350. 
Murphy, Joseph, 157. 
Murphy, Mark, 312. 
Murray, Flizabeth, 140. 

Nast, Thomas, 353. 

Neilson, Adelaide, 168. 

JNeilson, Alice, 152. 

JSIevers, L,ouis, 52, 

Newcomb, Bobby, 114, 163, 

JNewcomb, Billy, 265. ** 
Neyer, Ernest, 53. 
Nicholai, George H., 310. 
Nickle, Frof. Kobert. 262. 
JNixon. Samuel S., 148. 
JNorcross, Joseph, 53. 
Norton, Danger, 113. 
Norton, John W., 110. 
Norton, Nick, 267. 
Nye, Bill, 106. 352. 

Oberist, John F., 52. 
O'Connor. James Owen. 185. 
OXaughlin, Michael, 234, 235. 
Olympia yuartet, 267. 
O'Neill, Henry P., 53. 356. 
O'Neill, Hugh, 52, 356. 
O'Neill, James. 13, 118, 317. 



Opp, Julie, 130. 

U'Keardon, Matt., 160, 263. 

Ott, Joseph, 108. 

Owens, John E., 103, 268, 302. 

Faderewski, 366. 

Fage, H. C, 196, 334. 

Palmer, A. M., 17, 79, 140, 

310, 313, 315. 
Parker, Rev. Dr., 332. 
Farsloe, Charles T., 115. 
Pastor, Antonio (Tony), 53, 

158, 159, 186, 189, 261, 263. 
Pastor, Billy, 158. 
Pastor, Fernando (Dody), 53, 

Patterson, Thomas M., 350. 
Patti, Adelina, 127. 
Patti, Carlo, 302. 
Paull, William, 108. 
Pawnee Bill, 353. 
Payne, John Howard, 107, 179, 

Payne,^ t,ouis, 234, 235. 
Peakes, James G., 328. 
Peck, George W., 348. 
Pelham, Dick, 250. 
Perry, Harry, 285. 
Philip, Adolph, 127. 
Phillips, H. B., 115, 328. 
Phillips, Kev. Forbes, 147. 
Pike, Samuel N., 124, 125, 191. 
Pitt, Harry M., 79, 115. 
Pixley, Annie, 167. 
Piatt, E. M., 49, 52. 
Plympton, £;ben, 141, 311. 
Poe, Edgar Allan, 107. 
Pomeroy, t,ouise, 180. 
Pope, Charles, 353. 
Poole, John F., 53, 313. 
Porter, Benjamin, 338. 

Porter, Naomi, 262. 
Potter, Bishop, 78. 
Potter, Mrs., 360, 361. 
Power, Wm. H., 111. 
Power, Wm. H., Jr., 111. 
Pratt, W. W., 149. 
Prince iSadi d'Jalma, 34. 
Prior, J. J., 339. 
Prior, Mrs. J. J., 269. 
Prior, Walter, 196, 334. 
Putnam, Boyd, 138. 

yueen, Frank, 108, 152. 
yueen, John, 53. 

Kachael, 168, 236, 237. 
Rafter, Adele, 152. 
Ramza, Frank, 114. 
Randall, Peter, 312. 
Rapley, W. W., 365. 
Rapp, Henry, 52. 
Rathbone, Major, 228, 229. 
Ravel, Marietta, 264. 
Ray, Johnny, 361, 362. 
Reed, Charlie, 113. 
Reed, Dave, 163. 
Reed, Florence, 325. 
Reed, Jennie, 344. 
Reed, Roland, 108. 
Rehan, Ada, 20. 
Reignolds, Kate, 122. 
Remenyi, Edouard, 115, 335. 
Rhea, Mile., 340. 
Rice, Billy, 112. 
Rice, Dan, 150, 299, 349. 
Rice, John, 113. 
Rice, John B., 349. 
Rice, T. D., 249. 
Rich, Isaac B., 121. 
Richings, Peter, 303, 'i'^^. 



Kiggs, T. Grattan. 48, 60, 62, 

56, 110. 
Kigl Sisters 34. 
Ring, Blanche, 138. 
Ritchie, Adele, 138. 
Robinson, John, 85. 
Robson, Stuart, 12, 110, 185, 

Rockafellar, G«orge, 52. 
Rogers, Benjamin G., 115. 
Rooney, Fat, 112. 15y, 336. 
Roosevelt, President, 356. 
Rosa, Patti, 174. 
Rosecrans, General, 299. 
Roselle, Master Percy, 132. 
Ross, Charles J., 140, 212, 213, 

Rousseau, General, 298. 
Russell, l^illian, 152. 
Russell, Sol Smith, 12, 103, 

244, 245, 246. 
Ryan, Sam J., 256. 
Ryman, Add, 189, 1»0. 

Salsbury, Nate, 296. 
Salvini, Alexander, 21. 
Sanderson, Sibyl, 169. 
Sanford, Jim, 113. 
Sargent, H. J., 34. 
Savan, Charles, 312. 
Scanlan, Sadie, 171. 
Scanlan, William J., 108, 160. 

219, 220. 
Schmitz, Eugene li., 355. 
Schoolcraft, J^uke, 302. 
Schroeder, Mayor, 332. 
Seaman, Julia, 180. 
Searle, Cyril, 311. 
Searle, Louise, 177. 
Seward, Secretary, 230. 
Seymour, Mrs. t,. E., 328. 

Seymour, Nelse, 56, 113, 1«9. 
Seymour, William, 122. 
Shannon, John, 53. 
Sharpe, Louis, 303. 
Sharpe, Tom, 254. 
Sharpley, Sam, 254. 
Shattuck, Charles F., 52. 
J>hattuck, Otis, 309. 
Shea, Rev. L. W., 148. 
Shean, Rev. William B., 150. 
Shelby, Dan, 338. 
Sheppard, William, 48, 50, 52. 
Sheridan and Mack, 266. 
Sheridan, General, 304. 
Sheridan, William £;., 110, 196. 
Sherlock, £;. T., 302. 
Shinn, Rev. Dr. George W., 

Scott-Siddons, Mary, 167. 
Sidman, Arthur, 109. 
Sidney, George, 311. 
Sinn, Col. Wuiiam JE., 14, 16, 

245, 313, 342. 
Sinn, Walter L., 103. 
Skinner, Otis, 17, 311. 
Slavin, Bob, 113. 
Smaun, 176. 

Smith and Waldron, 266. 
Smith, Dexter, 121. 
Smith, Helene, 262. 
Smith, Hubbard Taylor, 357. 
Smith, Mark, 104, 187, 302, 

Smith, William H., 52. 
Sothern, Ldward A., 104, 110. 
Sothern, lidward M., 17, 130, 

Sousa, John Philip, 325. 
Spangler, £:dward, 234, 235. 
Speaight, James G., 337. 
Spears, Robert, 52. 



stair, E. D., 310. 

Stanwood, Harry, 52. 

Stark, James, 186. 

Stebbms, Henry G., 107. 

Steirly, Kichard, 49, 53. 

Stephens, Hal., 311. 

Sterger, Kev. A. F., 147, 148. 

Stevens, Emma Maddern, 174. 

Stevenson, Charles A., 135. 

Stewart, Colonel, 229. 

Stewart, Grant, 130. 

St. Felix, Leonora, 174. 
Stoddart, James H., 347. 
Stowe, Emily, 171. 
Stromberg, John, 109. 
Siruthers, K., 328. 
Studley, J. B., 328. 330. 
Sullivan, Uarry, 186, 284, 285, 

286, 292, 293, 294, 295. 
Sullivan, Mark, 309. 
Sullivan, Timothy D., 349. 
Surratt, Mary F., 234, 235. 
Sutherland, Kev. James M. 

(Eob Hart), 151. 
Sweet, F. B., 351. 
Sykes, Jerome, 109. 

Tabor, H. A. W., 34Y. 

Tanner, Cora, 14. 

Tayleure, Clifton W., 192. 

Taylor, Robert, 348. 

Texas, Jack (J, B. Omohundro), 

110, 111. 
Thoman, JacoD W., 109. 
Thomas, Augustus, 138. 
Thomas, Theodore, 16. 
Thompson, Fanchon, 152. 
Thompson, George W., 50, 52, 

56, 104. 
Thompson, Johnny, 126, 127, 

128, 263. 

Thompson, Eysander, 116, 328. 
Thompson, Walter E., 354. 
Thorne, Charles K., Jr., 241, 

Tooker, Joseph H., 355. 
Tostee, Mile., 193. 
Tournour, Millie, 262. 
Tuck, Samuel, 310. 
Turner, Allie, 263. 

Underbill, Kev. Dr. A. F., 138, 

Van, Billy B., 312. 

Vance, Elmer E., 310. 

Vanderfelt, E. H., 141. 

Vandenhotf, George, 132. 

Vandemark, Henry, 48, 50, 52. 

Vanness, John W., 52. 

Van Studdiford, Grace, 152. 

Varian, JSlina, 167. 

Verne, Emma, 170. 

Vernon, Ida., 328. 

Vincent, Mrs. J. K., 121, 122, 

Vincent, Warden, 85. 
Vivian, Charles A., 34, 48, 51, 

113, 159. 
Vogel, John W., 310. 
Vokes, Harry, 312, 367. 
Vokes, Kosina, 22. 
VonBehren, Annie, 343. 
VonBoyle, Ackland, 147. 
VonKokoy, Irma, 174. 

Waldron, Martha, 138. 
Wallack, J. W., Jr., 71, 269, 

Wallack, Eester, 25, 108, 135, 

140, 313, 315, 323. 
Walsh, Blanche, 19, 324, 325. 



Waltz, Fred, 157. 

Wambold, Dave, 113, 158, 252, 

Wannemacher, Henry, 111. 
Ward, Artemus, 106. 
Ward, Happy, 312, 367. 
Ward, J. g. A., i06. 
Ward, J. VV., 34. 
Warde, Frederick, 150, 151, 

293, 310. 
Warlield, David, 13. 
Warner, A. K., 310. 
Warren, William, 104, 121, 

122, 133, 134. 
Watkins, Harry, 115. 
Weeks, Charles, 149. 
Weiss, Kev. John, 149. 
Welch, Charles, 355. 
Wells, Heber, 347, 348. 
Werner, Mrs., 21. 
West, J. Koyer, 312. 
West, William H., 112. 
Western, Helen, 166. 
Western, t,ucille, 166, 269, 

342, 343. 
Whallen, John, 354. 
Wheeler, Eernice, 167. 
Wheeler, James, 114. 
Wheelock, Joseph, 141, 294, 

White, Charles O., 109. 
White, Cool, 53. 
White, Cotton and Sharpley, 


White, Forter J., 309. 

Whitlock, Billy, 249, 250. 

Wild, John, 111, 267. 

Willard, Ji. S., 19. 

Williams, Gus, 34, 161. 

Williams, Johnny, 267, 

Williams, Mortimer, 263. 

Williams, Mr. and Mrs. Bar- 
ney, 268. 

Williams, Udell, 110. 

Williamson, Mr. and Mrs. J. 
C, 135. 

Willis, Oscar, 34. 

Wills, Nat M., 311. 

Wilson, George W., 79, 122. 

Wilson, Tommy, 85. 

Wilton, £;ilie, 171. 

Wilton, John G., 49, 52. 

Winner, Septimus, 303. 

Wirz, Captain, 235. 

Witmark, A. S., 138. 

Wolfe, Dorothy, 171. 

Wood, Charles Winter, 181. 

Wood,' Henry, 260. 

VVyndham, Charles, 298. 

Yeamans, Mrs. Annie, 138. 
Yeamans, Jennie, 70. 
Young, Charles W., 312. 
Young, Eliza, 177. 

Zebold, George, 114. 


This bo JkrDUE t JrT ''''"'* '^"°'^«'- 

''^'^ «^ T J 

SEP 15 1956 


SEP 1 5 19561 



VB 14937